SECOND     CATALOGUE 


I'oWiun  of  Ancient  and  Modem 


Works  of  Art, 


N    OH    luASKH 


TO    THE  TRUSTEES 


<>h   inr 


Museum    of    Fine     Af^ts,  at    Bosto 


N, 


Exhibition  in  the  Picture  Gallery  of  the  Athenaeum. 


BOSTON: 

ALFRED    MUDGE   &    SON,   PRINTERS,   NO.  34   SCHOOL   STREET. 

1873. 


I 


SECOND     CATALOGUE 


OF   THE 


Collection  of  Ancient  and  Modern 


Works  of  Art, 


give:*  or  loaned 


TO   THE  TRUSTEES 


OF  THE 


Museum   of    Fine     Af^ts,  at    Boston, 


NOW   ON 


Exhibition  in  the  Picture  Gallery  of  the  Athenaeum. 


BOSTON: 
ALFRED  MUDGE  &    SON",  PRINTERS,  NO.  34  SCHOOL  STREET. 

1873. 


fcrl 


KEF ACE . 


The  collection  herein  catalogued  is  composed  of  works  of 
Art  given  or  loaned  to  the  Trustees  of  the  Museum  of  Fine 
Arts.  It  contains  a  series  of  objects  which  illustrate  a  wide 
range  of  artistic  activity  in  point  of  time  and  use  of  material, 
including  a  very  valuable  collection  of  Egyptian  antiquities, 
and  many  specimens  of  ancient  and  modern  glass,  bronze 
and  pottery,  Grseco-Italian  vases,  Italian  Majolica,  Venetian 
glass,  illuminated  manuscripts,  tapestry,  and  pictures;  and 
forms  an  artistic  microcosm,  well  calculated  to  teach  the 
visitor  something  of  the  character  and  quality  of  the  art- 
industry  of  many  nations  during  a  long  period  of  the  world's 
history. 

The  collection  of  Egyptian  Antiquities  arranged  in  the 
first  room  at  the  Athenreum,  was  formed  in  Egypt  by  the 
late  Mr.  Robert  Hay,  of  Linplum,  East  Lothian,  between 
the  years  1828  and  1833.  After  his  death  it  was  offered  for 
sale  by  his  son,  and  exhibited  in  the  Crystal  Palace  at  Syden- 
ham until  1871,  when  it  was  purchased  by  Mr.  Samuel  A. 
Way  of  this  city,  whose  son,  Mr.  C.  Granville  Way,  presented 
it  to  the  museum  in  June,  1872. 

The  following  quotation  from  a  letter  written  about  the 
collection  by  Mr.  Samuel  Birch,  Curator  of  the  Egyptian  an- 
tiquities at  the  British  Museum,  and  one  of  the  most  eminent 
of  living  Egyptologists,  is  hei'e  inserted,  as  sbovving  his  high 
appreciation  of  it,  and  as  offering  a  concise  description  of  its 
contents. 

Mr.  Birch  writes:  The  Hay  Collection  comprises  numer- 


1920477 


cms  specimens  of  each  division  of  Egpytian  antiquities,  illus- 
trative of  the  arts,  manners,  and  civilization,  and  of  the 
Pantheon,  civil  life,  and  funeral  rites  of  ancient  Egypt.  Its 
chief  strength  is  its  mummies  and  coffins,  some  of  which  are 
well  preserved,  and  all  would  he  valuable  and  important 
additions  to  any  museum  which  does  not  possess  similar  spe- 
cimens. Besides  these,  it  is  remarkable  for  its  number  of 
small  objects,  such  as  scarabrei,  amulets,  sepulchral  figures, 
canopic  vases,  stamped  cones,  and  the  usual  specimens 
found  in  Egyptian  collections.  It  is  such  a  collection  as  the 
British  Museum  would  have  gladly  purchased  before  it  was 
provided  with  Egyptian  antiquities  of  the  smaller  kind." 

A  complete  catalogue  of  the  objects  in  the  collection  is 
now  in  process  of  preparation  by  Gen.  Ch.  G.  Loring,  who  in 
the  one  here  printed  has  only  aimed  to  supply  a  present  need, 
by  pointing  out  the  most  interesting  objects  to  visitors. 

The  following  notes  upon  Egyptian  Chronology  are  in- 
tended to  facilitate  their  researches:  — 

The  broad  divisions  of  Egyptian  History  are  three:  namely, 
those  of  the  Ancient,  the  Middle,  and  the  .New  Empires. 
During  these  three  periods,  Egypt,  according  to  the  tables  of 
Manetho,  a  priest  of  Sebennytus  and  the  father  of  Egyptian 
Chronology,  was  ruled  by  thirty  dynasties  of  kings,  many  of 
whom  were,  without  doubt,  contemporaries.  The  date  of  the 
reign  of  Menes,  the  first  king  who  united  upper  and  lower 
Egypt  under  one  sceptre,  is  a  matter  of  conjecture.  Egyptol- 
ogists vary  in  their  estimates  from  5000  B.  C,  the  date  given 
in  Manetho's  tables,  to  3600  B.  C.  Tradition  ascribes  to  him 
great  works,  but  no  monumental  record,  save  a  royal  cartouche 
here  and  there,  is  found  of  him  or  his  immediate  successors. 

The  kings  of  the  IV  Dynasty  are  celebrated  as  the  builders 
of  the  pyramids,  4000  to  3000  B.  C.  None  of  the  art  of  that 
day,  excepting  possibly  one  piece  of  stone  cut  in  relief  (Case 
2,  No.  214),  is  to  be  found  in  this  collection.  Those  who  have 
seen  at  Boulaq  the  wonderfully  fine  bas-reliefs  and  pieces  of 


statuary  in  stone  and  wood,  recently  brought  to  light  by  the 
excavations  of  M.  Marietta  at  Memphis,  and  iu  its  neighbor- 
hood, know  that  for  truth  and  simplicity  the  art  of  the  pyra- 
mid builders  has  never  been  equalled  in  later  days. 

With  the  XVIII  dynasty,  history  begins  to  take  form, 
dates  can  be  approximately  ascertained,  and  the  monumental 
records  again  become  of  importance. 

Later  scholars  agree  to  place  the  beginning  of  the  XIX 
dynasty,  between  1464  and  1409  B.  C.  This  was  the  period 
of  Egypt's  greatest  magnificence,  when  arts  aud  literature 
alike  flourished.  The  extent  and  grandeur  of  the  temples 
then  built,  the  colossal  size  of  the  statues,  the  vivid  paintings 
of  the  tombs,  the  lavish  pouring  out  of  wealth  in  every  form 
of  art,  mark  it  as  an  epoch  for  the  world's  wonder. 

It  is  to  this  period  probably  that  the  finest  of  the  mummy 
cases,  and  a  large  portion  of  the  objects  in  this  museum, 
belong. 

It  may  be  interesting  to  bear  in  mind  that  Moses  was 
brought  up  at  Court,  under  the  third  king  of  this  dynasty, 
Rameses  I,  and  that  the  Exodus  took  place  during  the  reign 
of  the  fourth. 

While  some  portions  of  this  collection  date  from  the  XVIII 
dynasty,  many  from  the  XIX,  and  others  must  be  ascribed 
to  the  succeeding  Egyptian  dynasties,  some  show  the  influ- 
ence of  Greek  and  Roman  art.  Even  under  the  Ptolemies 
and  CaBsais,  who  followed  Alexander's  conquest  (331  B.  C), 
the  old  civilization  survived.  The  old  religion  continued  to  be 
practised  until  it  was  finally  overthrown  by  the  last  edict  or 
the  Emperor  Theodosius  in  390  A.  D.  These  successive 
changes  are  well  illustrated  by  the  Terra  Cotta  lamps  in  the 
Hay  collection.  The  Egyptian  divinities  upon  the  oldest  in 
the  series  give  place  to  Greek  and  Roman  gods,  and  these  in 
their  turn  to  Christian  inscriptions  and  monograms.  See 
Nos.  1092, 1086,  and  1090.  No.  1085,  with  the  Tau  cross  (the 
Egyptian  symbol  of  life)  and  the  Latin  cross  united,  is  pecu- 

i* 


6 


Harly  interesting  as  illustrating  the  influence  of  Egyptian 
mythology  and  art  in  the  earty  Christian  church  of  Alexan- 
dria during  the  first  four  centuries  of  our  era. 

The  almost  unique  series  of  Egypto-Arabic  glass  coins  in' 
the  adjoining  case  (No.  1099),  which  date  from  the  tenth  cen- 
tury of  our  era,  remind  us  that  Egypt  was  finally  conquered 
by  the  followers  of  Mahomet,  A.  D.  622. 

The  antiquities  from  Cyprus,  which  were  sent  to  this  coun- 
try by  General  L.  Cesnola.  U.  S.  Consul  at  Cyprus,  are  but  a 
small  portion  of  the  treasures  taken  from  the  Necropolis  at 
Idalium  (where  he  opened  about  8,000  tombs)and  from  the  site 
of  the  Great  Temple  of  Venus  at  Golgos,  which  he  discov- 
ered and  identified.  The  pottery  is  extremely  ancient.  It 
comes  next  in  date  to  that  made  by  a  people  of  the  stone  age 
perhaps  2000  B.  C,  which  is  found  at  Santorin,  Thera,  and 
Aspronisi  (volcanic  islands  of  the  Archipelago).  The  Phoeni- 
cians colonized  these  and  other  Mediterranean  Islands 
about  1500  B.  C,  after  they  had  been  twice  covered  with  lava, 
under  which  the  pre-historic  pottery  has  been  found,  with 
stone  implements  and  remains  of  primitive  dwellings. 

The  Cyprus  pottery  is  for  the  most  part  Phoenician.  The 
Phcenicians,who  were  the  great  merchants  of  antiquity,  carried 
an  active  trade  in  pottery,  glass,  small  idols,  votive  offerings, 
beads,  etc.,  such  as  are  found  along  both  shores  of  the  Medi- 
terranean from  Syria  to  Spain.  The  system  of  ornament 
used  upon  this  ancient  earthenware,  which  we  may  call 
Phoenician,  Pelasgic,  or  early  Archaic,  is  made  up  of  straight 
bands,  zigzags,  simple  and  concentric  circles,  disposed  in 
spaces  divided  by  horizontal,  parallel,  and  vertical  lines, 
painted,  or  marked  upon  the  clay  while  in  a  soft  state  by 
means  of  pointed  sticks,  knotted  cords,  or  little  wheels.  See 
Nos.  4,  6,  7, 15,  52,  95,  96,  etc.  Animal  forms  .are  rare,  and 
conventional  plant  and  flower  forms  unknown.  The  decora- 
tive s}'stem  so  closely  resembles  that  of  old  Celtic  pottery, 
and  that  of  bronze  implements  found  in  the  tombs  of  North- 


orn  and  Central  Europe,  that  certain  archaeologists  have  sup- 
posed it  to  have  been  introduced  into  Greece,  Italy,  and  tin; 

countries  of  Northern  Europe  by  the  Aryan  tribes  after  their 
dispersion.  Next  in  dale  to  this  early  pottery,  which  is  adorned 
with  colored  and  incised  lines,  comes  the  later  Archaic  or  Ori- 
ental, upon  which  horses,  stags,  and  birds,  especially  water 
fowl  (see  Nos.  13,  73,  etc.),  and  conventional  plant  forms  are 
painted  (sec  No.  14).  The  animal  forms  (Nos.  10,  11,  12),  in- 
stead of  being,  as  in  the  older  examples,  straight-lined,  angu- 
lar, and  thin,  are  rounded  in  outline  and  full  in  form,  though 
very  rude  in  execution.  The  design  upon  the  CEnochoe, 
No.  10,  a  hunter  in  a  chariot,  seems  copied  from  an  Assyrian 
bas-relief. 

Taken  as  a  whole,  the  pottery  from  Cyprus  represents  a 
very  ancient  art-system.  Whether  single  examples  are  a 
little  earlier  or  later  in  date  is  a  matter  of  small  importance. 
An  old  style  is  never  immediately  supplanted  by  a  new  one, 
but  lingers  on  through  the  strength  of  stylistic  tradition. 

The  pottery  from  Cyprus  and  the  painted  vases  of  the 
Appleton  collection  (Case  A),  illustrate  ancient  Keramic  art 
from  1000  to  100  before  Christ. 

Before  speaking  of  painted  vases,  it  may  be  well  to  premise 
that  in  the  first  half  of  the  last  century  it  was  customary  to 
regard  those  found  in  Italy  as  Etruscan;  but  as  numbers  of 
vases  with  Greek  inscriptions  were  found  in  the  tombs  of 
Magna-Grsecia  and  Sicily,  Winckelmann  declared  them  to  be 
Greek.  After  this,  the  names  of  Italo-Graeco  and  Siculo- 
Grreco  were  applied  to  them  according  to  the  locality  where 
they  were  found,  while  those  with  black  figures  on  a  red 
ground  were  particularized  as  Sicilian,  and  those  of  the  best 
period,  With  red  figures  upon  a  black  ground,  were  named 
Nolan,  from  Nola,  where  they  were  first  discovered.  The 
truth  of  VVinckelmann's  theory  was  almost  absolutely  proved 
in  the  year  1828,  by  the  discovery  of  the  Necropolis  at  Vulci, 
which  yielded  no  less  than  six  thousand  vases  painted  with 


8 


subjects  relating  to  the  myths  and  poetry  of  Greece,  Greek 
in  style,  an  I  bearing  inscriptions  in  the  Greek  language  As 
there  is  not  even  a  tradition  of  the  existence  of  a  Greek 
population  m  the  region  about  Vulci,  and  as  such  an  im- 
mense number  of  vases  could  hardly  have  been  transported 
from  Greece  to  Italy,  the  learned  were  forced  to  conclude  that 
they  must  have  been  made  in  local  workshops  under  Greek 
direction.  This  conclusion  applies  not  only  to  the  Vulci 
vases,  but  also  to  all  those  found  in  the  cemeteries  of  other 
Italian  cities,  not  of  Hellenic  origin.  Certain  kinds  of  vases, 
as,  for  instance,  those  of  black  ware  ornamented  with  figures 
in  relief,  which  are  found  only  in  Italy  and  especially  at  Chi- 
usi;  those  adorned  with  representations  of  Etruscan  deities, 
and  with  emblems  and  symbols  connected  with  the  wor- 
ship of  Bacchus  as  god  of  the  infernal  regions;  and  those  in- 
ferior copies  of  Greek  originals  evidently  painted  by  native 
scholars  of  foreign  masters,  which  are  found  at  Chiusi,  may 
be  regarded  as  Etruscan  works,  but  with  these  exceptions 
the  painted  vases  found  in  Etruria  are  of  undoubted  Greek 
origin. 

Something  may  here  be  said  about  the  names  and  uses  to 
which  earthenware  vessels  were  applied  in  antiquity,  with 
the  understanding  that  these  names  are  not,  in  all  cases, 
applied  with  absolute  certainly.  For  purposes  of  classifica- 
tion, the  following  division  into  six  classes  may  be  taken  as 
resting  on  good  authority  :  — 

1.  Amphora,  Pithos,  Pelice,  and  Stamnos, —  large  vases  for 
holding  wine,  oil,  figs,  and  honey. 

2.  Hydria  and  Kalpis,  vases  for  carrying  water. 

3.  GSnochoe.  Olpe,  and  Prochoos,  pitchers  for  pouring  out 
wine  and  water. 

4.  Krater,  Kelebe,  and  Oxybaphon,  vases  for  mixing  wine 
with  water. 

6.  Kantharos,  Kyathos,  Karkhesion,  Holkion,  Skyphos, 
Kyilx,  Lepaste,  Phiale,  Keras,  and  Rhyton,  drinking  vessels. 


G.    Lekythos,  Alabastron,   Askos,   Bombjlios,  Aryballos, 
and  Kotyliskos,  receptacles  for  ointments  and  perfumes. 

Many  of  these  are  represented  in  the  Appleton  and  Cyprus 
collections,  as,  for  instance, — 

Amphora,  Nos.  1,  4,  5,  6,  and  7;  3G3,  370,  and  371,  etc.,  etc. 

Kalpis,  Nos.  365  and  374. 

CEnochoe,  Nos.  10, 11,  12,  381,  and  382. 

Prochoos,  No.  420. 

Oxybaphon,  No.  380. 

Krater,  No.  393. 

Kylix,  No.  377. 

Kantharos,  Nos.  379  and  390. 

Leykthos,  Nos.  207  and  20S  (of  stone),  121. 

Skyphos,  No.  378. 

Aryballos,  Nos.  362  and  389. 

Ascos,  No.  25. 

Patera,  Nos.  382  and  392  A. 

Tripus,  No.  61. 

Some  archaeologists  believe  that  painted  vases  were  placed 
in  Greek  and  Etruscan  tombs  as  "  tesserae,"  or  marks  that 
the  deceased  had  been  initiated  into  the  Eleusinian  or  Diony- 
siac  mysteries.  Pionysius,  or  Bacchus,  was  the  husband  of  the 
Eleusinian  Ceres,  and  he  was  often  depicted  as  the  god  of 
death  by  the  ancients.  What  are  called  Panathenaic  vases 
(i.  e.  vases  filled  with  oil  from  the  sacred  olive  tree  planted  by 
Minerva  on  the  Acropolis,  which  were  given  as  prizes  to  the 
victors  at  the  Panathenaic  festivals)  were  preserved  as  marks 
of  honor  and  buried  with  the  recipient.  The  Lekythoi  found 
in  Attic  graves  were  often  expressly  made  for  burial  purposes, 
as  we  know  from  a  passage  in  Aristophanes,  who  further  re- 
fers to  the  custom  of  laying  them  upon  the  corpse.  Vases 
which  had  been  especially  valued  by  a  deceased  person  were 
piously  buried  with  him,  while  those  which  are  too  small,  or 
being  unglazed  are  unfit  for  household  uses,  must  have  been 
made  expressly  for  burial.     Painted  vases  were  Sildom  used 


10 


to  contain  ashes;  they  were  either  placed  about  the  corpse, 
or  laid  upon  it,  or  hung  upon  the  walls  of  the  grave  chamber. 
The  subjects  represented  upon  them  are  divisible  into  two 
great  categories:  namely,  mythic,  embracing  the  whole  cycle 
of  Greek  mythology;  and  individual,  as  connected  with  pri- 
vate life. 

The  most  renowned  Greek  potters  were  those  of  the  Cera- 
micus,  a  quarter  of  Athens  in  which  they  resided.  They  made 
vases  of  wonderful  lightness,  and  adorned  them  with  paint- 
ings of  great  beauty.  They  used  very  fine,  carefully  pre- 
pared clay,  of  a  bright  red  color,  which  they  heightened 
by  a  varnish  mixed  with  red.  Before  using  this  varnish, 
they  painted  figures  upon  the  clay  surface  with  a  shining  pig- 
ment of  a  brownish  hue,  or  of  deep  black,  playing  into  olive 
tones;  or  else  filled  up  the  spaces  between  the  outlines  of  the 
figures  with  black,  leaving  them  the  natural  color  of  the  clay. 
Before  doing  this,  they  marked  out  the  general  outlines  and 
the  contours  of  limbs,  muscles,  and  draperies,  with  a  sharp 
instrument,  and  then  went  over  them  with  a  brush  filled  with 
dark  color,  laid  on  with  wonderful  accuracy.  Additional  col- 
ors, such  as  white,  green,  violet,  and  dark  red,  were  added  by 
the  vase  painters  of  the  latest  period,  after  the  vessel  had  been 
twice  burnt  in  the  furnace. 

The  Appleton  collection  contains  examples  of  vases  of  four 
periods  subsequent  to  the  pre-historic  period,  which  is  repre- 
sented by  three  small  vases  from  the  Lacustrian  habitations 
of  Southern  Italy  (Nos.  359,  360,  and  361).  These  vases  are 
similar  to  those  found  in  nearly  all  the  Swiss  lakes.  Lacus- 
trian pottery,  which  is  also  found  in  Northern  Italy,  is  either 
plain  like  these  examples,  or  adorned  with  horizontal  or  ver- 
tical lines,  incised  around  the  body  of  the  vessel,  or  with 
short  or  oblique  lines  disposed  geometrically.  It  is  hand 
made,  i.  e.  made  without  the  aid  of  the  wheel,  which  was,  how- 
ever, used  at  a  very  early  period  both  in  Egypt  and  in  Greece, 
whence  the  cup  or  dish  fashioned  upon  it  was  called  the  daugh- 


11 


ter  of  the  wheel.  The  painted  vases  of  the  first  epoch,  which 
begins  with  the  first  Olympiad,  770  B.  C,  and  eloses  about  500 
B.  C,  are  called  Asiatic  or  Corinthian.  For  the  most  part 
they  were  made  at  Corinth,  a  city  renowned  for  its  potters, 
and  actively  engaged  in  commerce  with  the  East  and  with 
Italy.  The  dull,  yellowish  clay  of  which  they  are  formed  is 
painted  with  rows  of  animals,  such  as  lions,  "panthers,  bulls, 
and  birds  disposed  in  zones  around  the  body  of  the  vase, 
and  with  floral  ornaments  of  an  Asiatic  character.  See  Apple- 
ton  Collection,  Nos.  302-369. 

The  vases  of  the  second  epoch  are  adorned  with  figures 
painted  in  a  black  pigment  upon  a  red  background.  The  fig- 
ures are  disposed  in  Indian  file  and  treated  in  an  Asiatic 
style.  They  are  long  and  attenuated,  exaggerated  in  action, 
with  broad  hips,  long  noses,  and  staring  eyes.  Their  range 
of  subjects  is,  for  the  most  part,  mythical.  The  oldest  belong 
to  the  sixth  century,  B.  C,  but  such  vases  were  made  up  to 
a  late  period.  In  some  cases  this  style  and  the  succeeding 
were  mixed;  but  when  this  is  the  case,  the  black  figures  are 
treated  archaically  according  to  traditional  stylistic  laws.  See 
Appleton  Coll.,  Nos.  370-372. 

The  vases  of  the  third  epoch,  which  extends  from  about 
400  to  200  B.  C,  are  the  finest.  The  subjects  illustrate  Greek 
mythology  and  Epic  poetry.  The  figures,  which  are  red  upon 
a  black  ground,  are  of  the  purest  outline,  and  show  the  high- 
est technical  skill.     See  Apple!  on  Coll.,  Nos.  373-383. 

The  vases  of  the  fourth  epoch  (200-100  B.  C.)  are  of  Apulian 
manufacture.  See  cases  A  and  E.  They  belong  to  the  latest 
period  of  the  art,  which  began  to  decline  after  the  introduc- 
tion of  gold  and  silver  vases  from  the  East  through  the  con- 
quests of  Alexander.  They  are,  in  many  cases,  of  enormous 
size,  very  elaborately  decorated,  overcharged  with  ornament 
and  color,  and  extravagant  in  shape.  Those  of  the  latest 
period  are  more  and  more  strongly  marked  by  these  signs 
of  decadence.    See  Appleton  Coll.,  Nos.  381-395. 


12 


Among  the  most  interesting  objects  in  the  Cyprus  collec- 
tion are  the  fifty-one  pieces  of  Greek  glass,  taken  from  the 
tombs  at  Idalium.  The  exquisite  colors  which  they  display 
are  the  result  of  oxidization,  through  contact  with  earth  of  a 
certain  quality  during  many  centuries.  Oxidization,  which 
gradually  destroys  such  hard  substances  as  glass  and  metal 
(see  the  bronze  weapons,  implements,  mirror,  etc.,  etc.,  in 
case  D),  has  no  power  over  terra  cotta;  (see  the  beautiful 
Greek  fragments  of  statuettes  in  this  same  case,  Nos.  212-251, 
which  are  as  perfect  as  if  made  yesterday.)  Some  of  the  heads 
of  Cybele  or  Astarte  are  of  the  best  period  of  Greek  art,  and 
the  horse's  head  (No.  237)  is  like  one  of  the  Parthenon  mar- 
bles in  style  and  spirit. 

In  case  B  we  would  particularly  call  attention  to  the  statu- 
ette, in  calcareous  stone,  of  a  female  figure  holding  a  child  in 
her  arms,  No.  127,  repeated  in  the  terra  cotta  No.  133.  Many 
such  figures  have  been  found  at  Cyprus,  which  although  it 
had  no  artistic  school,  was  a  centre  of  fabrication  for  small 
objects  of  devotion,  such  for  instance  as  the  rude  little  terra- 
cotta idol,  in  case  E,  No.  136,  which  probably  represents 
Aphrodite.  Similar  figures  are  mentioned  by  Athenreus  as 
commonly  sold  as  talismans  to  navigators  in  the  seventh  cen- 
tury B.  C.;  Lucian  also  says  that  terra-cotta  figures  of  this 
kind  were  sold  near  the  Temple  of  Venus,  at  Cnidos. 

The  little  stone  group,  No.  127  (case  B),  is  one  of  many 
repetitions  of  a  traditional  type,  under  which  the  Greeks  rep- 
resented the  Telluric  divinities  as  mothers  and  nurses.  Such 
goddesses  were  called  kovPotpo4>o^  %.  e.  nursing  goddesses.  A 
certain  number  of  divinities  were  so  regarded,  as,  for  instance! 
Demeter,  Gaea,  and  the  great  goddess  of  Cyprus  (Venus 
Astarte),  who  seems  to  have  been  a  combination  of  the  Greek 
and  Oriental  conception  of  Aphrodite.  This  group  may  per- 
haps  represent  Nana  and  her  son  Atys,  the  beautiful  shepherd 
beloved  of  Cybele. 

Among  the  most  curious  of  the  objects  found  in  the  tombs 


13 


of  Idalium,  here  exhibited,  arc  rudely-shaped,  and  in  some 
instances  gaudily-painted,  toys  (see  Nos.  142,  143,  147).  It 
lias  been  suggested  that  mothers  placed  these  playthings  in 
their  children's  graves.  The  stone  heads  are  of  great  in- 
terest, from  the  variety  of  type  which  they  exhibit.  Ihe 
Asiatic,  Egyptian,  Greek,  and  Roman  races,  who  successively 
ruled  over  Cyprus,  are  each  represented  in  these  mutilated 
monuments. 

Having  now  pointed  out  some  of  the  most  interesting 
objects  of  ancient  art  in  the  Museum,  we  would  say  a  few 
words  about  those  of  modern  art.  Among  these  none  are 
better  worthy  of  attention  than  the  six  Majolica  plates  and  the 
two  very  beautiful  bottles  loaned  by  Mrs.  Lawrence  (See  Nos. 
402,  3,  4,  5,  6,  8,  9, 10,  placed  on  the  wall  and  on  the  top  of  one 
of  the  cabinets)  No.  406,  which  is  what  is  called  Hispano- 
Moorish  ware,  brings  us  to  the  origin  of  this  beautiful  art  man- 
ufacture. The  Moorish  potters  were  established  in  the  island 
of  Majorca  (whence  the  Tuscan  name  Majolica)  at  a  very 
early  period,  and  fabricated  earthenware  plates  distinguished 
for  the  beauty  of  their  metallic  oxide  glaze.  They  adorned 
them  with  Arabic  patterns  and  fantastic  animals.  The  oldest 
establishment  of  this  sort  of  pottery  was  at  Malaga,  where  it 
was  introduced  by  the  Arabs  or  the  Moors,  who  perhaps 
derived  the  secret  of  making  it  from  Persia.  The  Pisans, 
who  conquered  the  Balearic  islands  in  the  twelfth  century, 
are  said  to  have  brought  the  manufacture  of  Majolica  to  Italy 
from  Majorca.  In  the  fifteenth  century  it  was  chiefly  made 
at  Faenza,  under  the  names  of  pietra  or  terra  di  Faenza, 
whence  the  French  derived  the  name  of  "  faience,"  which 
they  applied  to  it.  Unlike  porcelain  it  is  made  of  common 
earth,  and  being  only  vitrified  upon  the  surface  retains  a  cer- 
tain degree  of  porosity.  That  which  was  covered  with  a 
plumbiferous  (leaden)  composition  was  called  "  Mezza  Majol- 
ica." Thanks  lo  the  patronage  of  the  Dukes  of  Urbino,  the 
Majolica  made  at   Urbino,  Castel  Durante,  Pesaro,  and  Gub- 


14 


bio  attained  a  high  degree  of  perfection  during  the  first  half 
of  the  sixteenth  century,  after  which  it  began  to  decline 
under  the  growing  taste  for  porcelain.  The  names  of  such 
distinguished  artists  as  Giorgio  Andreoli  of  Pavia,  sculptor 
and  potter  established  at  Gubbio  in  1493,  whose  plates  are  dis- 
tinguished for  their  beautiful  iridescent  glaze;  of  Francesco 
Xanto  da  llovigo,  of  whose  artistic  skill  the  plate  No.  408 
(signed  and  dated  1532,)  is  an  example;  and  those  of  Guido 
and  Orazio  Fontana,  who  worked  for  Guidobaldo,  duke  of 
Urbino  (1540-1560),  are  connected  with  the  great  manufac- 
tories above  mentioned.  The  largest  platter,  No.  405  (sub- 
ject, the  Triumph  of  Bacchus),  and  the  two  richly  adorned 
and  painted  bottles  (gourdes),  Kos.  400  and  410,  are  probably 
the  work  of  Orazio  Fontana. 

The  erroneous  idea  that  Raphael  made  designs  expressly 
for  the  Majolica  of  Urbino  and  Castel  Durante  (whence  the 
name  Raphael-ware,  often  given  to  it)  may  have  arisen  from 
the  fact  that  some  of  the  designs  were  taken  from  his  works; 
or,  as  has  been  conjectured,  from  the  substitution  of  his  name 
for  that  of  Raffaellino  del  Colle,  a  painter  who  worked  for 
Guidobaldo  I.  della  Rovere. 

There  is  little  doubt  that  the  great  reverence  felt  for  the 
name  of  Raphael  has  contributed  to  the  preservation  of  many 
of  these  fragile  treasures,  which  were  greatly  valued  by  the 
principal  families  of  Urbino  and  the  Romagna. 

The  Duke  Alfonso  d'Este,  who  was  himself  an  amateur 
potter,  contributed  not  a  little  to  the  general  use  of  majolica 
for  domestic  puposes,  by  substituting  it  upon  his  own  table 
for  the  plate  which  he  was  obliged  to  pawn,  to  meet  the 
expenses  of  the  war,  which  he  and  the  Venetians  waged 
with  Pope  Julius  after  the  league  of  Cambray,  in  1510. 
The  Ferrarese  factories  were,  for  the  most  part,  inactive  from 
this  time  until  1522,  when  they  again  flourished,  for  we  know 
that  the  celebrated  painters  Giovanni  and  Battista  Dossi  made 
designs  for  them  in  1524.     Duke  Alfonso  then  wrote  to  Titian 


15 


to  procure  for  him  a  number  of  pieces  of  Majolica  from  Mu- 
rano.  Among  them  were  many  Spezieria  jars  used  to  hold 
drugs.  Of  such  jars  we  have  specimens  in  Nos.  43G  and  407, 
probably  of  Florentine  manufacture. 

No.  403  is  an  excellent  example  of  the  plates  called  "  ama- 
torii,"  or  marriage  plates.  Upon  these  plates,  lovers  caused 
the  portraits  of  their  betrothed  to  be  painted,  with  such  in- 
scription as  "Camilla  bella,"  "Lucia  diva,"  etc.,  etc.,  and 
sent  them  as  presents,  laden  with  fruits,  sweetmeats,  or  con- 
fectionery. 

We  now  come  to  the  works  of  a  celebrated  artist  who  com- 
bined sculpture  and  painting  with  the  Keramic  art,  and  orig- 
inated a  new  and  beautiful  branch  of  decorative  art.  This 
was  Lucadella  Robbia,  one  of  the  most  eminent  of  the  many 
great  Florentine  artists  of  the  fifteenth  century.  After  long 
practising  as  a  sculptor  he  devoted  himself  to  the  discovery 
of  a  hard  enamel  which  would  give  terra  cotta  the  durability 
of  marble,  and  after  repeated  failures  at  length  attained 
the  desired  result  about  the  year  1443.  With  the  true  feeling 
of  an  artist,  Luca  long  used  a  pure  white  enamel  upon  the 
figures  which  he  modelled,  and  preserved  their  sculptural 
feeling  by  keeping  color  in  his  backgrounds  and  accessaries. 
Thinking,  however,  that  his  works  might,  if  more  highly  col- 
ored, be  used  as  substitutes  for  fresco  painting,  he  afterwards 
added  other  hues  than  pure  blue  and  green  to  his  pallet,  and 
began  to  color  the  flesh  parts  and  draperies  of  his  figures. 
His  nephew,  Andrea,  carried  this  abuse  still  further,  and 
under  his  hands  and  those  of  his  four  sons  the  distinctive 
character  of  pure  Robbia  ware  was  gradually  lost,  until  it 
become  an  enamelled  picture  not  much  above  the  level  of 
wax  work.  The  difference  between  the  art  in  its  purity  and 
its  decline  may  be  judged  of  by  Nos.  518,  a  Madonna  and 
child  attributed  to  Luca,  and  519,  the  Madonna  adoring  the 
infant  Jesus,  by  Andrea  or  one  of  his  sons.  The  first  is  a 
pure  and   charming  work,  which  though  by  no  means  one 


16 


of  his  best,  will  give  the  visitor  some  idea  of  the  great  talent 
of  the  artist  and  the  plastic  propriety  of  his  work.  The 
second  will  show  him  how,  by  overstepping  the  bounds 
which  should  separate  painting  from  sculpture,  a  hybrid 
species  of  art  was  produced  which  had  the  merits  of  neither. 
A  cast  of  one  of  Luca's  most  celebrated  works  in  marble  will 
be  found  among  those  of  other  great  Tuscan  masters  at  the 
end  of  the  room:  namely,  the  "  Singing  Boys,"  No,  530,  one 
of  a  series  of  reliefs  in  marble,  made  for  the  balustrade  of  the 
Cantoria  (organ  loft)  in  the  Duorao  at  Florence.  For  excel- 
lence of  composition,  and  simple,  unpretending  truth  to  na- 
ture, this  group  of  choristers  is  worthy  of  the  highest  praise. 
So  earnestly  do  they  sing,  and  so  perfectly  is  the  character 
of  each  voice  conveyed  by  the  facial  expression,  that  like 
Dante,  when  he  looked  upon  those  celestial  bas-reliefs  which 
surpassed  the  works  of  Polyclete  (Purgatorio,  X.  Canto),  we 
are  in  doubt  whether  we  do  not  hear  as  well  as  see, — 
"     .    *    .    .    .    .    &  duo  miei  sensi. 

Facea  dicer  1'  un  No,  1'  altro  Si  canta." 

The  other  casts  on  either  side  of  this  relief  are  of  works 
by  celebrated  Tuscan  sculptors  of  the  fifteenth  and  sixteenth 
centuries,  from  Orcagna  to  Benvenuto  Cellini. 

In  case  F  will  be  found  some  bronze  medals  by  the  great 
Italian  medallists  of  the  fifteenth  century.  Vittor  Pisano, 
commonly  called  Pisanello,  a  native  of  Verona  (1380-1447), 
who  attained  great  eminence  as  a  painter,  revived  the  forgot- 
ten art  of  the  medallists,  and  founded  a  school  which  was 
continued  by  his  eminent  countryman  Matteo  de'  Pasti,  and 
by  Sperandio  of  Mantua.  They  modelled  the  profile  heads 
of  illustrious  men  and  women  of  their  time  with  unsur- 
passed delicacy  and  truth,  giving  every  varying  plane  of 
facial  surface  in  a  small  compass,  and  working  out  the  ac- 
cessaries with  the  utmost  technical  accuracy.  The  orna- 
ments, inscriptions,  and  devices  of  all  these  medals  are  mod- 
els of  skilful  and  tasteful  treatment;  the  bronze  is  of  the  finest 


17 


quality  and  the  most  perfect  color;  and  the  reverses  are 
adorned  with  small  reliefs  of  admirable  workmanship.  Both 
Pisanello  (who  liked  to  foreshorten  figures)  and  Sperandio 
frequently  introduced  horsemen  on  the  reverses  of  their  med- 
als. (Sec  No.  509  and  No.  510,  where  a  knight  is  praying  be- 
fore a  cross  by  the  wayside,  while  his  companion  awaits  him 
on  horseback  )  Much  the  finest  medal  in  this  case  is  that  by 
Matteo  de  Pasti,  of  the  famous  Isotta  da  Rimini  (No.  507), 
the  mistress  of  Pandolfo  Malatesta,  Lord  of  Rimini.  The 
elephant  (see  the  reverse  of  this  medal)  was  the  crest  of  the 
Malatestas.  The  two  of  Pandolfo  Malatesta  (Nos.  505  and 
506),  that  of  Lionello  d'Este,  508  (by  Pisanello),  and  that  of 
the  Greek  emperor,  John  Paloeologus  (No.  509),  who  came 
to  Florence  in  the  year  1439  to  attend  the  great  Council 
convoked  by  Pope  Eugenius  IV  to  heal  the  schism  be- 
tween the  Greek  and  Latin  churches,  are  other  excellent 
examples. 

The  three  magnificent  specimens  of  Gobelin  tapestry, 
loaned  to  the  museum  by  Mr.  George  O.  Hovey,  and  once 
the  property  of  King  Louis  Philippe,  were  saved  from 
the  fire  which  destroyed  the  chateau  at  Neuilly  in  1848. 
They  were  purchased  in  Paris  by  Mr.  Hovey,  who  brought 
them  to  Boston,  where  they  were  again  saved  from  the  flames 
in  November,  1872.  The  warehouse  in  which  they  were  stored 
stood  in  the  very  centre  of  the  burnt  district.  This  is  really 
a  matter  for  great  congratulation,  as  it  may  be  safely  said 
that  nothing  comparable  to  them  of  their  kind  exists  on  this 
side  the  Atlantic.  The  dimensions  of  the  two  largest  are  20x12, 
the  third  is  15x12.  They  represent  summer,  autumn,  and 
winter.  The  picturesque  costumes  of  the  figures,  some  of 
which  are  nearly  life-size;  the  landscape  backgrounds,  made 
up  of  hills,  trees,  castles,  and  sky;  the  exquisite  borders  en- 
riched with  gold  thread,  and  the  fine  texture  of  the  fabric, 
make  these  woven  pictures,  whose  tones'  are  softened  and 
harmonized  by  time,  equally  precious,  whether  regarded  as 
2* 


18 


examples  of  the  designer's  or  workman's  skill.  We  should 
suppose  them  to  be  at  least  two  hundred  years  old,  though  it 
is  difficult  to  be  precise  about  the  date  of  arras  hagings. 
They  are  what  are  technically  called  tapestries  u  de  haute 
lisse"  i.  e.,  wrought  on  the  upright  or  vertical  frame  which 
was  substituted  for  the  Saracenic  low  or  horizontal  frame 
(called  "  basse  lisss  ")  by  the  Flemish  and  French  artisans,  in 
the  XIV  century. 

The  question  as  to  how  far  such  textile  fabrics  are  the  work 
of  the  hand  is  so  often  asked  that  an  answer  in  this  place  may 
not  be  unacceptable.  We  quote  from  Dr.  Rock's  descriptive 
catalogue:  "  Tapestry  is  neither  real  weaving  nor  true  em- 
broidery, but  unites  in  its  working  these  two  principles  into 
one.  It  is  not  embroidery,  though  so  very  like  it,  for  tapes- 
try is  not  worked  upon  what  is  really  a  web,  having  both  warp 
aud  woof,  but  upon  a  series  of  closety-set  fine  strings.  Though 
wrought  in  a  loom  and  upon  a  warp  stretched  along  a  frame 
it  has  no  woof  thrown  across  those  threads  with  a  shuttle  or 
any  like  appliance,  but  its  web  is  done  with  many  short 
threads,  all  variously  colored,  and  put  in  by  a  kind  of  needle. 
With  the  upright  as  with  the  flat  frame,  the  workman  went 
the  same  road  to  his  labors;  but  in  either  of  these  ways  he 
had  to  grope  in  the  dark  a  great  deal  on  his  path.  In  both 
he  was  obliged  to  put  in  the  threads  on  the  back  or  wrong 
side  of  the  piece,  following  the  sketch  as  best  he  could  behind 
the  strings  or  warp.  As  the  face  was  downward  in  the  flat 
frame  he  had  no  means  of  looking  at  it  to  correct  a  fault.  In 
the  upright  frame  he  might  go  in  front,  and  with  his  own 
doings  in  open  view  on  one  hand  and  the  original  design  full 
before  him  on  the  other,  he  could  mend  as  he  went  on,  step 
by  step,  the  smallest  mistake,  were  it  but  a  single  thread." 

In  concluding  this  Preface  it  may  not  be  out  of  place  to 
remind  those  persons  who  visit  the  present  collections  of  the 
Museum,  that  they  have  been  brought  together  with  the  view 
of  giviug  the  public  an  opportunity  of  seeing  rare  and  curi- 


19 


ous  objects,  and  in  the  hope  of  exciting  interest  and  stimulat- 
ing the  general  desire  to  have  the  Museum  made  a  first-class 
Institution  of  its  kind.  The  student  may  learn  a  great  deal 
from  the  objects  collected  in  these  two  rooms;  the  man  of 
culture  may  pass  a  profitable  hour  in  examining  them;  and 
the  wealthy  and  jrenerous  may  perhaps,  in  seeing  how  few 
they  still  are,  be  moved  to  give  us  the  means  of  increasing 
them,  so  that  when  the  spacious  Halls  of  the  Museum  build- 
ing are  ready,  they  may  not  be  too  scantily  furnished  with 
treasures  of  Art. 

CHARLES  C.  PERKINS, 
Chairman  of  the  Committee  on  the  Museum. 

Boston,  April  10,  1873. 


THE   WAY   COLLECTION 


OF 


EGYPTIAN    ANTIQUITIES 


CASE  NO.  1:  — 

OBJECTS  IN   BRONZE  AND  OTHER  METALS. 

DIVINITIES. 

1  to  11.    Figures  of  tiie  God  Osiris,  generally  repre- 
sented as  mummied. 

In  No.  1,  both  hands  clasp  a  crook,  while  in  the  right 
he  holds  the  emblem  of  life  eternal, a  cross  with  a  loop  for 
handle.  In  most  of  the  other  figures,  he  holds  the  crook 
in  one  hand,  the  whip  in  the  other.  He  was  the  judge 
of  the  dead. 

12  to  10.    Figures  of  the  God  Amun,  often  styled  "  King 
of  the  Gods,"  Chief  of  the  great  Triad  of  Thebes. 

No.  12  is  of  the  time  of  Eameses  II;  it  is  of  good  pro- 
portions, and  has  had  a  gilt  dress  and  necklace.  No. 
15,  in  a  walking  position,  has  eyes  of  silver.  No.  1(5,  a 
sitting  figure,  has  the  head-dress,  feathers,  and  crown 
complete. 

17  to  24.    Figures  of  the  God  Horus,  son  of  Isis  and 
Osiris. 

Those  figures  which  represent  him  as  a  child,  once 
supposed  to  be  images  of  Harpocrates,  wear  a  lock  of 
hair  on  the  right  side.  17,  of  excellent  workmanship. 
21  to  24  of  late  date. 


22 


25.    Figure   of  the  bearded  Pthah.     Bes  (?)  on  a 

pedestal  supported  by  two  sphinxes. 

A  deformed  dwarf.  Some  doubt  as  to  the  identity  of 
this  God. 

28.    Figure  of  Khem.    The  God  of  Fertility. 
29  and  30.    Figures  of  Anubis,  jackal-beaded. 

He  presided  over  embalmments,  ami  in  many  ways 
guided  the  soul  after  death. 

31  and  32.    Figures  of  Pthah.     Chief  deity  of  Memphis, 
represented  as  mummied. 

The  large  figure  is  of  curious  workmanship.  The 
bronze, core  was  covered  with  white  stucco;  the  face, 
hands,  and  necklace  were  gilt;  the  eyelids,  eyebrows, 
scalp,  etc.,  are  of  a  composition  of  antimony.  The  eyes 
were  inserted,  but  are  now  missing,  as  well  as  the  cap, 
staff,  and  beard. 

33.    Figure  of  Atum  or   Atmoo.    The  sun  under  the 

horizon,  with  a  very  curious  head-dress. 
34  and  36.    Figures  of  Isis,  wife  of  Osiris. 

In  36,  she  is  nursing  Horus. 

37.    Figure  or  Pasht,  cat  or  lion-headed,  with  her  shield 
in  the  left  hand. 

In  38,  head,  breast,  and  arms  are  given. 

42,  43  and  44.     Uncertain  divinities. 

46.  Figure  of  Bes,  with  a  club. 

47.  Small  Figure  of  a  God  to  the  waist  where  it  ends 

in  a  base,  various  devices.     Roman  period. 


ROYAL  AND  DOMESTIC  FIGURES. 

i 

49.    Figure  of  a  King  wearing  the  crown  of  upper  and 

lower  Egypt. 


23 


54.     FIGURE  OF  a  Roy,  probably  statue  of  a  son  of  one  of 

the  Ptolemies. 
57,  59  and  60.     Greek  work.     Boys  asleep,  playing  the  double 

flute,  and  with  wings. 


FIGURES   OF  ANIMALS,  DOMESTIC  IMPLE- 
MENTS, ETC. 

61-67.     The  Urjeus,  the  asp,  an  emblem  of  royalty. 

In  No.  61,  it  wears  the  crown  of  Lower  Egypt.  Simi- 
lar figures  in  wood  may  be  seen  over  the  door  of  en- 
trance. 

71-77.    Bulls,  Ram,  Cats,  head  of  an  elephant. 

78.  Part  of  a  Sistrum. 

79,  81.    Miniature  Buckets. 

82.  85.    Various  Spoons,  one  with  a  long  hooked  handle, 
ending  in  a  duck's  head. 

86  to  92.     Mirrors,  once  highly  polished. 

93  to  95.    Instruments  for  the  use  of  Scribes. 

99.    Arrow-heads. 
101.    Miniature  Hoe. 
105.    Head  of  a  Miniature  Rudder. 

In  their  grand  processions  the  arks,  or  boats,  of  the 
divinities  were  borne  in  state.  Miniature  models  are 
often  found. 


106, 107,  are  the  shields  that  made  the  prow  of  these  boats. 
107  is  of  silver. 

110, 112.    Rings  of  bronze  and  silver,  for  hand  and  ear. 


24 


CASE  No.  2:  — 

OBJECTS    IN    MARBLE,   ALABASTER,    LIMESTONE,    SANDSTONE, 

AND  TERRA  COTTA. 

On  the  third  shelf  from  the  floor,  right  side,  are  grouped  a 
few  figures  of  the  Gods. 

116.   Amun.    Seated. 

117  and  119.    Heads  of  Osiris. 

122  and  123.    Heads  of  Bes,  the  grotesque  dwarf. 

122,  a  remarkable  piece  of  sculpture  in  some  unknown 
substance. 

124,  125.     Isis  NURSING  Horus. 

12G.     Ta-oer.     Hippopotamus-headed,  with  claws  of  a  lion, 

in  red  stone. 
127  to  158.    Fragments  of  Figures. 

On  the  upper  shelf,  right  hand,  are  grouped  a  num- 
ber of  typical  Egyptian  faces  and  heads.  The  frag- 
ment in  the  rear,  mouth  and  nostrils,  red,  on  a  yellow 
ground,  are  portions  of  a  portrait  of  Seti  I  (about  1400 
B.  C. ),  cut  from  the  wall  of  Belzoni's  tomb.  On  sec- 
ond shelf,  right,  is  a  life-size  hand  in  granite,  holding 
the  crux  ansata,  emblem  of  eternal  life  A  number  of 
curious  figures  of  women  on  couches  are  grouped  to- 
gether on  the  fourth  shelf,  right  hand. 

159-185  also  678-707.  In  back  part  of  third  and  fourth 
shelves  are  many  mummy  figures  in  stone  and 
terra  cotta,  and  on  the  second,  are  others  in  por- 
celain. 

These  are  found  in  great  numbers  in  the  tombs, 
placed  there,  perhaps,  on  the  day  of  the  funeral,  by 
friends  and  relatives.  They  represent  the  deceased  with 
legs  and  arms  swathed,  as  when  mummied  after  death. 
Generally  an  extract  from  the  Book  of  the  Dead  is 


25 


inscribed  in  front;  often  the  name  and  occupation  of  tlie 
deceased.  Soineof  the  better  made  figures  are  pliieed 
on  the  third  shelf,  left.  The  dead  carries  in  either  hand 
a  hoe  and  a  pick,  and  over  his  shoulder  a  bag  of  seed 
(one  flg.  is  turned  to  show  this).  Part  of  the  work  of 
his  time  of  probation  in  the  after-life  was  to  cultivate 
the  fields.  706  is  worthy  of  examination  (on  third  shelf, 
right),  a  mummy  figure  of  the  style  of  the  XIX  dy- 
nasty, the  face  lost.  Beneath  the  crossed  hands  is  the 
figure  of  a  bird  with  human  head.  It  is  emblematical 
of  the  soul,  either  just  leaving,  or  returning  to  reani- 
mate the  body. 


214.     Ou  the  upper  shelf,  right,  is  a  fragment  cut  from  the 
wall  of  a  tomb. 


A  figure  holding  an  oar,  among  papyrus  reeds,  prob- 
ably part  of  a  fowling  scene.  It  is  of  the  best  style  of 
Egyptian  sculpture,  and  may  date  from  the  time  of  the 
pyramid  builders. 


24F-301.    Vases,  Tazze,  and  Jaes,  of  alabaster,  marble,  and 
other  stones. 

The  short,  full  ones  are  generally  meant  to  hold 
stibium,  kohl,  with  which  the  women  were  wont  to 
paint  the  eyelid  and  brow.  A  curious  one,  a  monkey 
holding  a  pot,  is  on  third  shelf,  right  (186). 


On  lower  shelf,  right,  are  a  number  of  beick  cones  and 
cylindees  with  hieroglyphics. 

Some  of  these  may  have  served  as  stamps  for  the 
seals  put  on  doors  of  granaries,  etc,  as  at  the  present 
day  in  Egypt.  Others  probably  marked  the  spots  where 
bodies  were  placed.  While  the  richer  were  buried  in 
rock-cut  tombs,  immense  numbers  of  the  poorer  classes 
were  placed  in  the  debris  at  the  foot  of  the  hills,  and  here 
these  cones  are  found  in  great  profusion. 

3 


26 


OX  SHELVES  OX  THE   WALL:— 

On  wall  opposite  entrance  are  three  Funeral  Tab- 
lets. These  generally  contain  a  prayer  to  Osiris,  and 
record  name  and  occupation  of  deceased. 

195  is  in  good  style;  a  man  and  his  wife;  before  them  a  table 
of  offerings,  meat,  vegetables,  and  wine. 

224  and  225,  Pieces  of  Limestone,  are  portions  of  the  wall 
of  a  tomb,  giving  an  excellent  example  of  the 
cutting  of  hieroglyphics. 

227.    Fragments  of  Sandstone  from  the  wall  of  a  temple. 

One  has  the  head  of  an  Asiatic  captive. 

On  these  shelves  and  on  the  tops  of  cases  are  placed:  — 

237  to  247,  A  Number  of  Sepulchral  Vases,  intended 
to  hold  the  viscera  of  the  person  in  whose  tomb 
they  were  placed. 

A  complete  set  consists  of  four  (see  upper  shelf  on 
right  on  entering),  the  covers  bearing  the  heads  of  the 
four  Genii  of  Amenti,  human,  of  the  ape,  jackal,  and 
hawk.  They  are  inscribed  with  the  name  of  the  de- 
ceased, and  of  the  genius  protecting  the  special  organ 
embalmed  within.  A  fine  set  in  alabaster  is  placed  over 
Case  2.  It  dates  from  the  time  of  Aphries,  the  Pharaoh 
Hophra  of  Jeremiah.  The  covers  are  in  this  set  all 
human-headed. 


CASE  No.  3  :  — 

OBJECTS  IN  WOOD. 

370.  Figure  of  Osiris,  once  gilt  with  ivory  eyes  inserted. 

371.  Isis.    Kneeling,  she  wears  her  emblem,  a  throne,  on 

her  head. 


27 


373,  375.    Covers  of  Sepulchral   Vases.    The  human- 
headed  one  is  a  fine  piece  of  carving. 
376  to  429.    Mummy.  Figures    See  hefore  Nos.  159-185. 

These  wooden  figures  answer  the  same  purpose  as  the 
stone  and  porcelain.  Oftenthey  are  gayly  painted.  Some 
are  placed  on  pedestals  on  which  also  the  wife  kneels 
before  her  husband,  No.  411.  Often  in  cavities  in  these 
pedestals,  Nos.  414,  415,  etc.,  were  placed  papyri.  Nos. 
381  to  387  were  found  in  the  tomb  known  by  the  name 
of  Belzoni's,  being  that  of  Seti  I  (Oimenepthah),  and 
bear  his  cartouche  (about  1400  B.  C. ).  Those  with  aprons 
carved  in  folds  generally  date  from  the  XVIII  or  XIX 
dynasty. 

430  to  486.  Figures  in-  various  Attitudes,  dancing 
standing,  and  squatting. 

In  the  men  the  flesh  is  painted  red,  in  the  women  yel- 
low. These  are  found  in  great  numbers  in  one  quarter 
of  the  tombs  at  Thebes.  The  group  430  and  succeed- 
ing numbers,  was  found  on  the  little  model  of  a  boat. 
It  represents  the  captain  and  sailors  seated  or  squatted 
for  a  talk. 

487.  A  Grotesque  Figure,  knees  bent,  cavity  in  the  head 

—  a  stibium  bottle. 

488.  Figure    of   a   Girl.     Curious  a3  giving  a  style   of 

dressing  the  hair  like  the  modern  fashion  of  Nu- 
bia.    The  large  ear-rings  are  also  still  seen  there. 

489.  490.    Similar  Figures  in  Ivory. 

491-503.  Figures  of  Animals.  The  dog,  jackal,  hippo- 
potamus, cat,  etc. 

501-503.  On  upper  shelf,  Figures  of  the  Soul,  represented 
by  a  hawk  with  human  head. 

For  an  illustration  of  this  see  fig.  706,  case  2. 

507-536.    Figures  of  Birds,  chiefly  of  Hawks. 

The  Hawk  was  the  emblem  of  Horus.  532  wears  the 
crown  of  upper  and  lower  Egypt.  524  represents  a  Hawk, 
mummied. 


28 


ON  THE    WALL:— 


Suspended  above  Case  3,  and  also  on  the  left,  are  various 
Staves  and  Bows. 

Long  staves  were  usually  carried  by  the  Egyptians. 
The  top  was  often  in  the  conventional  shape  of  the 
lotus  flower;  two  such  can  be  seen  in  Case  4.  Often 
they  were  ornamented  with  a  short,  projecting  branch, 
and  if  nature  had  not  supplied  it,  an  artificial  one  was 
fastened  on  ;  instances  of  both  kinds  can  be  seen  on 
the  wall.  They  are  of  hard  wood,  carried  the  heavy 
end  down,  and  are  of  length  much  greater  than  the 
canes  of  the  present  day.  Often  the  owner's  name  is 
inscribed.  Frequent  mention  of  staves  is  made  in  the 
Bible,  both  literally  and  metaphorically,  showing  con- 
stant use  of  them.  The  bows  are  generally  in  good 
preservation  ;  the  largest  isjsixty-three  inches  in  length, 
and  about  one  and  three  eighths  in  diameter  at  largest 
part.  They  are  of  good  shape,  tapering  at  the  extremi- 
ties. 


CASE  No.  4:  — 

OBJECTS  IN  WOOD,  CHIEFLY    DOMESTIC  MISCELLANEA. 

579.    Three  Pieces  of  Hard  Wood  inscribed  with  hiero- 
glyphics. 

They  were  part  of  the  posts  of  a  rectangular-shaped 
sarcophagus.  The  hieroglyphics  are  cut  in  admirable 
style.  The  wood  is  the  Sont,  Acacia  ( Mimosa)  Nilotica, 
one  of  the  acacias  that  produces  gum  arabic,  the  shittim- 
wood  of  the  Old  Testament. 

581.     A  Box  for  paints  (?)  in  five  compartments,  with  a  slid- 
ing cover. 


29 


582  to  583.    Scribe's  Palettes  with  brushes. 

They  usually  have  a  long  cavity  for  the  reed,  and  two 
round  ones,  one  for  red,  and  one  for  black  pigments; 
both  were  in  constant  use  as  the  papyri  show.  In  the 
funeral  ritual,  or  book  of  the  dead,  the  titles  of  chapters 
and  directions  for  use  were  usually  written  in  red.  A 
similar  custom  in  mediaeval  ecclesiastical  books  gave 
rise  to  the  word  rubric. 

587.    Painters'  Palettes. 
589.    Two  Fan-holders. 

Before  the  Egyptian  kings,  in  their  grand  processions, 
were  carried  two  fans  of  feathers.  A  similar  custom 
cau  be  seen  to-day  at  St.  Peter's. 

590-595.    Kohl  Bottles,  for  holding  the  stibium  with  which 
to  paint  the  eyelid  and  brow. 

594  is  a  shape  much  affected  by  the  female  sex,  the 
grotesque  dwarf. 

597.    Lady's  Toilet  Box,  in  shape  of  a  duck,  cover  lost. 
598  to  602      Combs. 

603.     Head  of  Horse  on  a  stick,  part  of  a  harp  of  graceful 
form,  as  may  be  seen  in  the  pictures  in  the  tombs. 

C04.    Head-Kests. 

The  Egyptian  complicated  arrangement  of  hairwould 
have  been  disarranged  by  a  modern  pillow.  These  were 
put  under  the  back  of  the  head.  Precisely  similar  are 
found  in  the  Polynesian  islands  to-day;  those  of  Japan 
closely  resemble.  Ou  one  the  grotesque  dwarf  is  sculp- 
tured, a  frightful  figure  to  drive  away  dreams. 

607.  Sandals. 

608.  A  Doll,  flat,  painted. 
610-611.    Parts  of  stools  or  chairs. 

612-630.    Spoons,  Models  of  Boats,  Rudders,  and  numer- 
ous other  articles. 

631.    Three  Cramps  for  holding  stone  together. 
3* 


30 


A.  The  Crux  Ansata. —  Cross  with  a  looped   handle, 

the  emblem  of  eternal  life. 

This   is  constantly  represented  in  the  hands  of  the 
divinities.     Often  they  are  seen  ottering  it  to  mortals. 

B.  Fragment  of  the  Symbol  of  Stability. 

It  was  formerly  called  the  nilometer,  —  the  most  usual 
symbol  of  the  god  Ptah. 


CASE  No.  5:  — 

TABLETS  OF  WOOD,  FRAGMENTS    OF  MUMMY  CASES,   ETC. 

539.     Tablet  representing  Horus  on  the  crocodiles,  sur- 
mounted by  the  grotesque  head  of  Bes. 

Such  tablets  in  wood  are  rare;  they  are  of  late  date. 
Probably  emblematic  of  the  triumph  of  life  over  death. 

540  to  550.    Funeral  Tablets,  placed  in  the  tombs,  gener- 
ally inscribed  with  prayers  to  Osiris,  etc. 

The  suppliant  usually  stands  before  an  altar  on  which 
is  placed  a  lotus  flower  and  other  offerings.  Behind 
the  altar  one  or  more  deities.  Osiris,  541;  Osiris  and 
Isis,  548;  Osiris,  Isis,  and  four  genii  of  Amenti,  543  and 
544.  The  suppliant  often  wears  the  white  robe  of  justi- 
fication, No.  548,  a  specimen  of  which  can  be  seen  in 
Case  8. 

550  is  of  belter  workmanship. 

Here  the  offering  is  made  by  a  priest  wearing  his  robe 
of  office,  a  leopard  skin.  Half  only  of  this  tablet  has 
been  preserved. 


31 

551  and  552  .ire  Pectoral  Tablets  placed  on  the  chest  of 
a  mummy. 

They  are  carved,  and  were  once  inlaid ;  they  repre- 
sent Anubis  as  guardian  of  the  tomb. 

553.    A  Schoolmaster's  Tablet  for  teaching  a  pupil  to 

write  Greek. 
551    Tablet  with  Greek  Inscription,  bearing  name  ot 

Athanasius,  probably  hung  in  some  church;  only 

half  is  preserved. 

555  to  SCO.  Miniature  Mummy  Cases,  or  covers  of  the 
same.  Nos.  1017  and  1018,  left  hand  of  case,  are 
similar. 

These  cases  may  sometimes  have  contained  a  foetus 
or  some  small  animal,  as  No.  1018.  Generally,  how- 
ever, they  held  a  stick  or  figure  wrapped  in  bits  of  ban- 
dages, and  inscribed,  as  if  a  child  had  put  them  up  in 
sport,  Nos.  558  and  1017. 

562.  Fragment  of  a  Mummy  Case  with  nine  lines  of  very 

finely  executed  hieroglyphics. 

The  mummy  lies  on  a  funeral  bier,  above  hovers  the 
figure  of  a  bird  with  human  head,  representing  the  soul 
returning  to  reanimate  the  body.  Beneath  are  the 
four  vases,  such  as  are  seen  ou  the  shelves  above  the 
case,  to  hold  the  viscera. 

563.  Faces  from  Mummy  Cases.  —  Others  are  suspended 

on  the  wall  opposite. 

The  expression  of  some  is  excellent.     One  in  hard 
wood,  with  glass  eyebrows  and  eyes  inserted,  gives  the 
pale-brown  complexion  of  the  modern  Egyptian.    This 
is  of  admirable  execution,  perhaps  a  portrait. 

564.  565.    Figures  of  Hands  from  mummy  cases. 


32 


566.    Figures  of  Beards;  two  show  th'e  mode  of  plaiting 
in  shape  of  the  letter  J. 
The  rest  of  the  case  is  filled  with  fragments  of  mummy 
cases,  or  of  the  cartonage  which  enveloped  the  mummy,  as 
seen  on  the  four  mummies  in  the  centre  of  the  room. 


CASES    Nos.     6    AND    7,   AND    AGAINST    THE 
WALLS:  — 

955  to  981.    Seven  Mummies  with  their  cases. 

The  immortality  of  the  soul  was  a  fundamental  doctrine  of 
the  Egyptian  religion.  It  is  probable  that  after  a  long  period 
of  probation,  the  soul  was  expected  to  return  to  its  body,  and 
hence  originated  the  habit  of  embalming.  This  custom  has 
obtained  among  other  people,  but  has  nowhere  been  held  in 
such  esteem,  or  carried  out  so  perfectly,  as  with  the  Egyp- 
tians. 

There  were  various  methods  of  embalming,  according  to  the 
taste  and  wealth  of  the  friends  of  the  deceased.  That  it  was 
done  with  skill  is  attested  by  the  preservation  of  these  bodies 
for  over  three  thousand  years.  During  the  process  the  vis- 
cera were  taken  out,  and  after  careful  preparation,  were  either 
returned  to  the  body  or  placed  in  the  four  jars  which  are  dis- 
played on  the  shelves  on  the  wall.  After  embalmment  the 
boJy  was  wrapped  in  bandages  of  fine  linen,  which,  in  some 
instances,  have  measured  over  one  thousand  yards  iu  length. 
These  bodies  have  been  unrolled,  but  specimens  of  the  very 
careful  method  of  bandaging  can  be  seen  on  the  mummies  of 
animals  in  the  lower  part  of  Case  6.  Among  these  baudages, 
and  but  rarely  immediately  against  the  body,  were  placed 
numbers  of  amulets  and  emblems,  such  as  may  be  seen  in 
Case  12;  often  they  were  of  gold  or  silver.     To  get  at  these,  a 


33 


mummy  is  generally  unrolled  and  searched  as  soon  as  found. 
After  bandaging,  it  was  placed  in  a  stiff  form  of  cartonage 
made  of  linen  cloths  cemented  and  tightly  pressed  together, 
then  fitted  to  the  hody  while  yet  moist.  The  cartonage  was 
then  gayly  painted,  as  seen  in  these  Cases  6  and  7. 

The  body  thus  enveloped  was  then  placed  in  one  or  two  cof- 
fins, specimens  of  which,  in  wood,  can  be  seen  against  the 
walls.  Sometimes  these  cotfins  are  of  stone  —  sarcophagi  — 
and  are  wonderful  specimens  of  skill  in  stone-cutting. 

The  faces  on  the  cases  and  cartonage,  when  of  women,  are 
painted  yellow;  of  men,  red.  In  some  cases,  they  may  be 
meant  for  portraits.  The  resemblance  between  the  face  on 
the  cartonage  of  959  and  on  the  inner  case  against  the  wall 
on  the  right,  might  indicate  this. 

959  is  a  fine  specimen.  Mummy  of  a  Lady  of  Kank, 
face  gilt. 

On  the  second  line  beneath  the  hands,  is  a  double 
picture  of  the  deceased  pleading  her  cause  before  Osiris, 
who  sits  as  judge,  holding  his  emblems  of  dominion,  the 
crook  and  whip.  She  is  supported  by  Truth,  wearing 
her  ostrich  feather.  A  large  portion  of  the  Egyptian 
pantheon  is  displayed  beneath.  Near  the  feet,  on  the 
ri^ht,  is  Athor  in  her  sacred  tree,  pouring  out  to  the 
deceased  the  water  of  life. 

The  two  wooden  cases  of  this  mummy  are  against  the  wall 
on  the  right,  the  outer  lid  wanting. 

955inCase7  is  another  fine  specimen.  It  is  of  a  man,  bearded. 
Its  inner  case,  a  fine  piece  of  work,  though  in- 
jured, stands  between  Cases  2  and  3. 

961.  In  the  corner,  on  the  left  on  entering,  stands  a  mummy 

in  its  cartonage,  in  both  of  its  cases.  The  lid  of 
the  outer  case  on  the  left,  of  the  inner  on  the 
right.  Through  some  accident,  the  painting  of 
the  cartonage  is  obscured  by  melted  bitumen. 

962.  In  Case  6,  a  Mummied  Hand,  delicate,  well-preserved; 

a  ring  on  the  fourth  finger. 


34 


In  the  lower  part  of  the  Case  are  Mummied  Skulls  (one 
of  these  is  half  filled  with  bitumen),  Heads,  etc. 
Also  two  small  mummy  figures  of  wood,  the 
interior  eaten  out  by  insects.  With  them  are 
two  locks  of  hair  thrown  into  the  tomb  at  the 
funeral.  Also  many  Mummies  of  Animals  ; 
of  the  cat,  cynocephalus,  hawk,  ibis,  etc. 

In  lower  part  of  Case  7  are  a  number  of  baskets  of  reed  and 
palm-leaf,  some  sandals  in  excellent  preserva- 
tion, boots  of  leather,  etc.,  etc. 


CASE  No.  8:  — 

MUMMY  COVERINGS 

On  right,  pieces  of  Mummy  Cloth  of  various  dates  and 
quality.     Some  are  inscribed  with  hieroglyphics. 
1004  on  left,  a  fine  specimen  of  the  Robe  of  Justification, 
represented  on  the  wooden  tablet,  No.  548. 

It  is  over  sixteen  feet  in  length  by  six  feet,  nine  inches 
wide,  with  a  fringe.  It  was  supposed  to  be  worn  in  the 
trial  after  death,  before  Osiris. 

1012.     A  Long  Mitten,  with  blue  border,  a  piece  of  fine 

linen  fabric. 
1021.    A  complete  set  of  the  Genii  of  Amenti  in  wax. 

These  have  been  mentioned  in  speaking  of  the  sepul- 
chral vases.  The  human-headed  was  Amset,  the  car- 
penter; the  monkey-headed,  Hapi,  the  digger;  the 
jackal-headed,  Smautf,  the  painter;  and  the  hawk- 
headed  Kebhnsnof,  the  bleeder.  These  little  figures 
were  perhaps  put  inside  the  body. 


35 


Other  Ou.tects  are  repetitions  of  these  in  wood  and  wax, 
pieces  of  cartonage  in  shape  of  vultures,  Scarabaei,  etc. 

All  taken  from  the  coverings  of  mummies  ;  among 
which  is  a  heal  net  work  containing  a  human  face,  a 
winged  scarab,  a  winged  deity,  and  the  four  genii,  once 
placed  over  a  mummy  of  the  time  of  the  XVIII  dynasty. 


CASE  No.  9,  On  Left  of  Foregoing  Case:  — 

PAPYRI. 

Only  fragments  of  Egyptian  manuscripts  can  here  he 
shown.  They  are  portions  of  the  Funeral  Ritual,  or  Book  of 
the  Dead. 

A  vignette  on  one  shows  a  mummy  drawn  on  the 
funeral  sledge,  with  a  woman  weeping  over  it.  A  mod- 
ern specimen  of  the  Papyrus  reed  simply  sliced,  with- 
out preparation,  is  also  shown. 


CASE  No.  10:  — 

VASES,  BOTTLES,  JARS,  ETC.,  IN  TERRA  COTTA  AND  VITREOUS 

WARE. 

Some  of  the  finer  specimens  are  placed  round  the  room,  on 
the  tops  of  cases. 

In  this  case  on  the  upper  shelf  are  sundry  bottles,  some 
very  tall  on  the  left. 

On  the  next  are  some  pilgrim  bottles,  suspended. 

755.  A  Pretty  Greek  Vase. 
757.    A  Curious  Jar. 

756.  A  Vase  bearing  a  grotesque  face. 

On  the  two  shelves  beneath  are  various  heads  of  sepulchral 
vases. 


36 

CASE  NO.  11  .;— 

SCARAB^I. 

The  common  beetle,  from  the  very  curious  method  in  which 
it  lays  its  eggs,  became  with  the  Egyptians  a  favorite  sym- 
bol. Taking  a  morsel  of  mud  or  duug,  and  depositing  on  it 
her  eggs,  the  beetle  then  fashions  it  into  a  perfect  sphere,  and 
pushing  backwards,  rolls  it  to  a  hole  where  she  buries  it,  leav- 
ing the  sun  to  hatch  the  eg^s  into  life. 

The  Egyptians  supposed  that  there  was  no  female,  that  it 
was  the  male  insect  solely,  thus  reproducing  his  kind.  Hence, 
it  became  the  symbol  of  Creative  Power  ;  of  the  World,  hold- 
ing the  seeds  of  life  ;  and  of  the  Sun. 

Scarabs  are  found  in  the  tombs  and  araon?  the  ruins,  in 
immense  numbers.  Besides  the  pure  symbolic  use,  in  which 
sense  they  were  placed  with  expanded  wings  on  the  breasts 
of  mummies,  they  were  used  often  as  ornaments  to  necklaces 
and  in  great  numbers  as  signet  rings,  in  which  case  they  bore 
inscriptions  of  various  sorts,  often  the  name  of  the  reigning 
king,  more  frequently  that  of  a  god,  or  some  attribute  of  one. 
Those  of  larger  size  often  recorded  events  of  public  or  private 
interest.  Some  of  these,  in  hard  stone,  are  remarkable  for 
their  cutting. 


CASE  No.  12  :  — 

AMULETS,    EMBLEMS,    TRINKETS,   ETC. 

FIGURES  OF  DIVINITIES. 

The  brief  limits  here  accorded  do  not  permit  a  discussion 
of  Egyptian  theology.  An  intricate  system,  varying  in  each 
age  and  in  each  separate  locality,  understood  by  neighboring 
nations  only  in  fragmentary  parts,  —  it  has  generally  been 
dismissed  as  a  tissue  of  idle  fables  or  of  gross  abominations. 


37 


The  patient  labor  of  the  later  Egyptologists  has,  however, 
brought  some  order  from  the  chaos,  and  disclosed,  reisniDS 
above  and  over  this  multiplication  of  deities  and  deified 
objects,  one  sole  God,  "  who  made  all  things,  and  was  not 
himself  made." 

How  far  this  idea  was  present  in  the  popular  worship,  — 
whether  it  was  ever  held  by  the  people,  or  was  entertained 
only  by  the  priests  as  one  of  their  holy  mysteries,  —  what 
limit  of  time  or  place  it  had,  are  subjects  for  discussion. 

The  Egyptian  religion,  as  known  to  the  Greeks  and  early 
Christians  from  whom  hitherto  we  have  drawn  most  of  our 
information,  had  wandered  far  from  its  ideal;  its  pantheon 
had  become  encumbered  with  a  numberless  host  of  divinities, 
aud  the  sun,  the  chief  visible  agent,  once  taken  as  the  chief 
symbol  of  the  deity,  had  become  the  chief  god.  His  name, 
Ra,  was  often  given,  as  an  added  dignit}',  to  the  other  gods. 
Amun  was  styled  Amun-Ra. 

The  greater  gods  may  at  one  time  have  all  been  deifica- 
tions of  the  attributes  of  the  One,  as  Thoth  was  of  divine 
reason,  and  Kneph  of  the  divine  spirit.  Lesser  gods  were 
often  deifications  of  nature. 

Many  of  the  better  known  Egyptian  deities  are  here 
grouped  together.  If  the  question  arises  as  to  whether  any 
people  believed  that  such  monstrosities  as  are  here  shown  — 
human  bodies  with  animal  heads  —  had  a  real  existence,  it 
may,  perhaps,  best  be  answered  by  bearing  in  mind  that  Chris- 
tian art  for  mauy  centuries,  so  represented  the  evangelists: 
St.  John,  with  the  head  of  an  eagle,  St.  Mark,  with  that  of  a 
lion,  and  St.  Luke  with  that  of  an  ox.  Such  representations 
were  purely  symbolical. 

633,  034.  Ptah,  creative,  or  perhaps,  more  precisely,  forma- 
tive power.  Chief  d  eity  of  Memphis.  Here  in 
the  shape  of  a  dwarf,  or  rather  of  an  embryo. 
Another  type  of  him  can  be  seen  in  the  bronze 
case;  unfortunately  the  figure  is  much  cor- 
roded. 
4 


38 


634.  A.  The  Egyptians  were  prone  to  group  their  gods 
together,  usually  into  threes,  these  sometimes 
forming  triads,  sometimes  trinities.  Two  curi- 
ous examples  are  here  shown. 


Ptah,  ■*  fPtah, 

Horus,  C  and  -j  Horus, 

Kneph,  or  Noum,  )  <■  Thoth. 


635.  Thoth,  generally  characterized  by  the  head  of  an  ibis, 

which  he  here  wears;   sometimes  by  that  of  the 
cynocephalus  ape. 

The  god  of  letters  —the  recording  angel  of  the  final 
judgment. 

636.  Ra,  the  sun,  hawk-headed,  and  wearing  the  disk  of  the 

sun,  from  which  projects  the  urceus. 

With  the  definite  article  before  it,  this  name  became 
Phra,  a  title  of  the  sovereigns  of  Egypt  —  hence  our 
Pharaoh. 

637.  Hortjs,  hawk-headed,  wearing  the  crown  of  upper  and 

lower  Egypt. 

There  were,  perhaps,  three  gods  of  this  name. 

638.  Antjbis,  jackal-headed.     Embalmer  of  the  dead,  guar- 

dian of  the  tomb,  etc. 

Flat  figures  of  this  god  are  often    sewu  into  the 
mummy  bandages. 

639.  Kkeph,  or  Noum,  the  spirit  —  ram-headed. 

640.  Khem.  —  The  god  of  fertility. 

640.  A.  —  Chonso,  the  third  person  of  the   great  Theban 

triad.  Represented  as  mummied,  with  the  lunar 
disk  upon  his  head ;  he  wears  the  plaited  lock  of 
childhood. 

641.  Horus  as  a  child,  his  finger  in  his  mouth. 

642.  Bes  (?)  holding  sword  and  shield. 


39 


643  to  645.    The  Grotesque  Dwarf,  Ees  (?). 

But  little  is  known  of  this  divinity.  His  effigy  is  con- 
stantly placed  on  articles  pertaining  to  the  toilette  of 
women.  These  figures  were  mostly  intended  to  be  worn 
round  the  necks  of  women  and  girls.  Many  of  the 
figures  are  double,  back  to  back,  some  quadruple. 

646.  Heads  of  the  sabie   divinity,  also  adapted  to  be 

worn. 

647.  Schou,  with  both  hands  above  his  head,  elevating  the 

disk  of  the  sun. 

648.  Head  of  Osiris.  —  Fine  work. 

The  principle  of  good.  In  his  career,  he  symbolizes 
the  eternal  strife  with  evil  and  the  final  victory  of  good. 
Worship  of  other  deities  was  apt  to  be  local,  that  of 
him  was  universal. 


649.  Head  of  Afis. 

650.  Isis  and  her   Sister   Neptiiys,  the  former  distin- 

guished by  a  throne  on  her  head. 
651, 652.    Isis. 

In  most  of  these  figures,  she  is  represented  as  nursing 
Horus,  a  very  favorite  subject. 

653.    Isis,  Neptiiys,  and  between  them  Horus. 
654  to  656.     Pasht,  head  of  a  lioness,  rarely  that  of  a  cat  — 
the  avenger  of  crime. 

Statues  of  her,  full  size,  of  very  dark  stone  are  fre- 
quent. A  group  of  them  in  water  color  may  be  seen 
near  the  door. 

657,  658.     Ta-oe  r.  —  Head  and  body  of  a  hippopotamus,  with 

the  feet  of  a  lion. 
846.     Amun-ra,  the  chief  god  of  Thebes;  one  of  these  figures 

is  finely  executed. 
846.     Probably  of  Ra,  —  hawk-headed,  seated. 


40 


848.    Atum  or  Atmoo,  the  sun  under  the  horizon. 

Curious  head-dress  in  which  the  lotus  and  two  tall 
shafts  are  prominent. 


850.  Uxknowx  Divinities,  one  with  large  ears  surrounded 

by  lions,  Pasht  V  —  the  other  with  the  head  of  a 
rabbit. 

851.  A  Goddess  with  a  fish  on  her  head. 

818  to  833.  Figures  of  Animals.  —  Of  the  monkey,  ram 
(one  with  four  heads),  cat,  bull  (one  tied  up  for 
sacrifice),  crocodile,  hawk,  pig,  lion,  dog,  frog, 
rabbit,  of  fish,  of  the  Phoenix  (830),  hedgehog, 
scorpion,  and  calf. 

872  to  884.  The  Mystic  Eye  (of  Horus?),  found  in  im- 
mense numbers  in  the  tombs  and  elsewhere. 

These  are  mostly  adapted  to  be  worn  as  amulets. 

855.  Eyes  from  Mummy  Cases. 

856.  The  Tat,  formerly  supposed  to  be  the  Nilometer — 

emblem  of  stability. 

892.  Two  Columns,  one  supporting  the  figure  of  a  cat,  the 

other  the  head  of  Athor. 
894.    A  Scorpion  with  a  woman's  head  and  shoulders,  a 

very  remarkable  figure. 
896,  897.     Objects  Belonging  to  Necklaces. 

893.  Emblems  representing  the  fastening  of  the  belt. 

900.  Heads  of  Serpents. 

901.  Rosettes,  perhaps  for  furniture. 

903.  Four  Miniature  Jars  on  a  slab.  Supposed  to  have 
been  intended  to  hold  paints,  but  a  fracture 
shows  the  interior  to  be  uncolored. 

907.    The  Caps  of  Upper  and  Lower  Egyptv 

912.  Porcelain  Rings,  various  devices. 

913,  914,  915.    Rings  in  ivory,  cornelian,   and  a  hard  red 

stone;  parts  of  necklaces. 


41 


010.    Flat  Figures,  sewn  into  mummy  coverings. 

On  the  circular  stand  arc  placed  some  objects  selected 
for  the  beauty  of  their  execution,  or  as  being  of  especial 

interest.     On  the  base  are  grouped  various  emblems. 

932.  Various  Rings,  two  in  gold;  one  of  these  in  form 
common  at  the  present  day,  the  other  is  of  an 
Etruscan  pattern. 

Three  silver-mounted  scarabffli,  the  hoops  rather 
heavy,  probably  a  later  imitation  of  real  Egyptian  work, 
which  can  be  seen  in  the  bronze  and  delicate  silver 
mounting  of  the  rings  by  their  side.  In  these  the  silver 
is  oxidized.  A  ring,  copper  gilt,  with  head  of  Christ  in 
red  coral,  is  probably  of  Byzantine  work.  A  scarab  in 
its  original  gold  setting,  hoop  of  the  ring  lost. 

92G.     Figure  of  Ra,  sitting,  in  highly  polished  chrysolite; 

one  of  the  child  Horus  in  a  hard  yellow  stone. 
928.     Six  Figures  of  Isis,  one  of  Thoth  (this  in  fragments) 

are  fine  specimens  of  carving  in  Lapis  Lazuli. 

The  expression  on  the  faces  of  two  of  the  figures  of 
Isis  is  admirable. 

934.  Thmei  or  Ma.  —  One  of  these  figures  in  an  exquisite 
bit  of  cutting  in  Lapis  Lazuli.  She  wears  her 
ostrich  plume  on  her  head.  The  goddess  of 
truth. 

At  the  final  judgment  the  heart  of  the  deceased  was 
placed  in  one  scale,  and  Thmei  or  her  ostrich  plume  in 
the  other,  Thoth  standing  by  to  record  the  inclination 
of  the  balance. 

940.  Figures  of  Hawks  in  Lapis  Lazuli. 

On  the  base  are  the  various  emblems  most  commonly 
found  wrapped  up  in  the  mummy  coverings,  in  corne- 
lian, Lapis  Lazuli,  and  other  stones. 

941.  The  Heart,  symbolized  by  the  vase  which  contained 

it  after  burial.     It  was  accounted  the  seat  of  life. 


42 


943.  TnE  Mystic  Eye,  outa. 

No  emblem  is  so  universally  found.  Perhaps  its 
most  common  signification  would  be  best  interpreted  by 
the  "All-seeing  eye  of  God  "  In  astronomy  it  had  the 
signification  of  the  accomplishment  of  a  period.  Hence 
it  became  emblematic  of  the  period  of  probation  or 
justification  of  the  soul  in  the  regions  below,  and  of  its 
final  resurrection.  It  had  other  meanings  more  recon- 
dite. 

944.  Miniature  Head-rests,  of  hoematite,  emblematic  of 

the  eternal  rest  that  awaits  the  "justified  "  soul. 

945.  Triangles. 

946.  Angles  or  Squares. 

Tbese  two  would  seem  to  bear  some  analogy  to  ma- 
sonic emblems.  Probably,  however,  the  one  referred 
to  their  trinities;  the  other  was  a  symbol  of  mystery  or 
adoration. 

947.  TnE  Tat,  emblem  of  stability. 

893.    The  Papyrus  Column,  emblem  probably  of  a  happy, 

well  rounded  life. 
898.    The  Buckle  or  fastening  of  the  belt. 

In  the  Book  of  the  Dead  directions  are  given  to  em- 
bnlmers  for  the  preparation  of  many  of  these  emblems, 
as  "to  be  washed  with  ankham  flower  water,"  etc., 
and  for  placing  them  on  various  parts  of  the  body. 


CASE  No.  13  :  — 

OBJECTS  IN  GLASS  AND  PRECIOUS  STONES. 

The  Egyptians  manufactured  both  opaque  and  transparent 
glass.  A  variety  of  curious  examples  are  here  given;  among 
them  several  beads  formed  of  rods  of  glass  fused  together, 
then  pressed  into  shape,  making  a  mosaic  of  various  colors. 


43 


1040.    A  curious  Head  of  an  Asiatic. 
1052.    Beads  of  Yellow  Green,  and  Blue  Glass  of 
strange  shape. 
An  almost  unique  collection  of  Arab  coins  in  glass  of  the 
10th  century  is  added. 

la  this  case  also  ara  placed  some  specimens  of  stone 
engraving;  among  others  a  small  scarab  in  green  jasper 
is  a  very  remarkable  piece  of  gem  cutting.  It  hears  the 
cartouch  of  Thothmes  III,  KiOO  to  1500  B.  C.  A  hawk 
crowned,  representative  of  Ra,  or  a  deified  Pharaoh,  is 
iu  the  centre;  on  one  side  the  cartouch;  on  the  other, 
the  solar  disk  with  the  urseus;  beneath  is  a  bird  proba- 
bly the  Phoenix  or  Benuou. 


CASE  No..  14:  — 

TERRA    COTTA    LAMPS. 

All  oflate  date,  chiefly  interesting  as  showing  the  succes- 
sion of  different  faiths.  In  the  Greek  lamps,  Minerva  and 
Cupid  (1086)  have  driven  out  the  Egyptian  gods,  to  give  place 
in  turn  to  inscriptions  to  Christ  (1000). 

1085  is  a  curious  instance  of  the  adaptation  of  the  old  symbol- 
ism to  the  new  faith.  The  Latin  cross  decorates 
the  centre;  on  either  side  are  Egyptian  crosses, 
symbols  of  life  eternal. 


SECO  N  D     ROOM. 


CASES  J,  C  AXD  !>.-- 

ANTIQUITIES    FROM    CYPRUS. 

1.  Large  Amphora,  used  to  hold  wiue  or  oil. 

The  pointed  base  was  stuck  in  the  ground. 

2.  Earthen  Jar,  with  Phenician  inscription. 

3.  Ditto. 

4.  Large  Amphora.    Coarse  clay,  ornamented  with  ver- 

tical and  horizontal  lines,  and  circles. 

The  pattern   painted  on  one  side  of  the  neck  is  com- 
posed of  a  winged,  diamond-shaped,  ornament,  and  two 

circles. 

5.  Greek  Amphora,  with  twisted  handles  and  cannel- 

lated  body;  remarkably  beautiful  shape. 

6.  Amphora,  decorated  with  vertical,  horizontal,  and  zig- 

zag lines  in  red  and  black. 

7.  Ditto. 

8.  Ditto      Horizontal  bands  of  black  and  red  color. 

The  upper  zone  is  decorated  with  birds  in  black  and 
red,  separated  by  conventionalized  trees. 

9.  Ditto.      Spaces  containing  birds   marked  by  vertical 

lines. 


45 


10.    (Enociioe.    Round  the  neck  are  straight  and  zigzag 
lines  in  black  and  red.     Animal-headed  handle. 

The  painting,  which  represents  a  hunter  ahout  to 
shoot  an  arrow  from  a  how,  and  a  charioteer  in  a  char- 
iot .drawn  by  a  black  horse,  resembles  a  Lion  Hunt  as 
figured  in  Assyrian  Bas-reliefs. 


11.  (Enociioe  of  yellow  clay,  with  compressed  trefoil  lip. 

A  fantastic  animal  resembling  a  horse  is  painted 
on  one  side. 

12.  Ditto.     Decorated  with  an  animal  of  the  deer  species. 

13.  Ditto.     Decorated  with  a  bird  in  black  and  red. 

14.  Small,    Pitcher.    Zone  of   birds.    At  base,   leaves. 

Ornament  at  the  top  composed  of  lines  crossing 
each  other. 

15.  (Enociioe.    Horizontal  black  bands. 

16.  Ditto.     Lip  and  neck  adorned  with  black  bands.     The 

body  is  canncllated  and  painted  black. 

17.  Ditto.     Divided  into  spaces  by  circles  formed  of  black 

lines.     Circle  and  wheel  patterns  in  intermediate 
spaces. 

18.  Like  15. 

19.  Ditto. 

20.  Small  Unpainted  (Enochoe  of  red  clay.    Cannel- 

lated  body. 

21.  Ditto.     Large  and  small  concentric  circles  and  horizon- 

tal bands. 

22.  Ditto.     Red  clay,  unpainted. 

23   and   24.     Ditto.      Red   clay.      Horizontal   black    bands. 
Compressed  trefoil  lip. 

25.  Ascos.     Brown  vertical  bands  around  base. 

26.  Flask  of  red  clay  with  handle. 

27.  "Very  Ancient  Pitcher.     (Assyrian?)    Vertical  and 

horizontal  bands  in  brown,  formed  of  lines,  dots, 
and  diamond-shaped  patterns. 

28.  Pitcher  with  handle  and  spout  at  side.    Yellow,  red, 

and  black  bands  and  stripes. 


46 

20.  "Wide-Mouthed    Jar,  with   side  handles,  much  in- 
crusted. 

30.  Red  Clay  Pitcher.    High  handle. 

31.  Red  Clay  (Enochoe.     Black  horizontal  stripes. 

32.  Red  Jug.     High  handle. 

33.  Jug.     Painted  with  concentric  circles. 

34.  Jug  with  projecting  spout.     Yellowish  clay. 

35.  Jug  with  handle  across  the  orifice. 

36.  Red  Clay  Jug,  once  painted. 

37.  Round  Jar,  with  upright  spout  and  double  handle. 

38.  Pitcher.     Small  and  dark-colored,  with  handle. 

30.     Small  (Enochoe, painted  red:  very  thin  and  light. 

40.  Ditto.     Maroon  color;  black  horizontal  stripes. 

41.  Small  Pitcher  of  Yellow   Clay,  with  remains  of 

paint. 

42.  Small  Vase,  without  handles. 

43.  Ditto  (Enochoe,  with  trefoil  lip  compressed.     Brown 

bands  and  concentric  circles. 

44.  Trefoil  Lip  and  Handle.     Alabastron  shape. 

45.  Jug,   Red,  Painted  Clay.    Black  bauds,  and  lines 

on  neck  and  body. 

46.  Small  Gray  Jar.     Black  bands  and  concentric  cir- 

cles. 

47.  Aryballos,  or    Pilgrim  Bottle.    Red  clay,  with 

double  handle. 

43.     Small  Amphora.     Red,  decorated  with  black  lines. 

40.     Ditto.     With  three  handles;    yellow  clay;    black  orna- 
ments. 

50.  Rowl  with  two  handles;  ornamented  with  black  lines. 

51.  Ditto.     Red  clay;  long  nose  and  handle. 

52.  Jug  of  Black  Ware.      Surface    divided   into  com- 

partments by  indented  lines  in  bauds,  which  are 
filled  with  an  incised  willow  pattern. 

53.  Black  Pitcher.     Ornamented  with  indented  diagonal 

lines  in  dots,  made  by  pressing  a  whip  cord  into 
clay  or  rolling  a  small  wheel  upon  it  while  soft. 

54.  PnENiciAN  Bird-Shaped  Pitcher.    [See  56,  57,  5S, 

and  50. 


47 


55.  Ditto.    Ornamented  with  diagonal  and  vertical  lines  in 

red. 

56.  Ditto. 

57.  Ditto. 

58.  Ditto,  with  neck  and  tail;  ornamented  with  indented 

zigzag  lines;  holes  iu  rings  for  suspending. 

59.  Ditto;  of  yellow  clay;  the   rings  disposed  vertically  in 

lour  rows;  painted,  with  diagonal  lines  forming 
rows  of  triangles  iu  brownish  red. 

60.  Red  Clay.     Ornaments  painted  in  black  and  red. 

61.  Tripus.     Blark  and  red  lines. 

62.  Phenician  Kylix.     Reel  and  black  lines  inside  and 

out.     Fantastic  birds  in  compartments. 

63.  Kylix  (Greek?).     Red   clay.     Brown   concentric  half 

circles,  and  bands  of  black  round  rim  and  upon 
handles. 
6-4.     Red  Bowl,  with  spout  open  at  top,     Moulded  knobs 
on  the  rim. 

65.  Patera,  of  red  clay.     Black  concentric  circles  round 

the   middle   of  centre  inside.     One   black   line 
round  the  rim. 

66.  Round  Cup,  with  high  handle,  yellow  clay.     Red  lines 

disposed  in  triangles. 

67.  Black  ditto.     Circles  disposed  horizontally,  and  dots  in 

bands. 

68.  Saucer,  of  yellow  clay.     Black  lines  in  circles. 

69.  Patera,  ofyellowish-red  clay,  painted  like  No.  65. 

70.  Bowl,  covered  with  pipe  clay,  with  vertical  and  hori- 

zontal lines,  dots,  etc.,  painted  upon  it  in  a  brown 
color. 

71.  Oxybapiion",  of  yellow  clay,  decorated  with  vertical, 

horizontal,  and  zigzag  lines  in  black. 

72.  Cup,  of  yellow  clay,  with  a  broad  purple  band  round 

the  rim. 

73.  Patera  of  ditto,  decorated  with  small  birds,  triangles, 

and  vertical  lines  in  red. 

74.  Little  Cup  of  ditto,  with  vertical  bands  in  purple. 

75.  Red  Patera.    Bhick  circles. 


48 


76.  Patera,  of  yellow  clay.    Black  lines. 

77.  Flat  Cup,  of  ditto,  with  high  handle.     Zigzag  lines 

round  rim. 

78.  Round  Bowl,,  painted  with  horizontal  hands,  and  con- 

centric circles. 

79.  Ditto.     Red  clay.     Black  lines  in  a  hand   round    the 

inside.  Ditto  on  rim;  outside  decorated  with 
small  concentric  circles. 

80.  Small  Oxybapiion.  Decoratedwith  a  diamond-shaped 

pattern  in  black  lines. 

81.  Small  Round  Jug,  with  three  handles;  ornamented 

with  bands  and  stripes  in  red. 

82.  Small  Jug.     (Greek.)     Ornament  in  relief  about  the 

neck. 

83.  Ditto. 

84.  Double  Lekythos.     (Greek.) 

85.  Small  Red  Jug,  with  spout  and  handle. 

86.  Ditto. 

87.  Two  Cups,  joined  together,  with  one  handle;  yellow 

clay;  ornamented  with  red  lines. 

88.  Small  Amphora.    Fine  red  ware;  horizontal  bauds, 

and  circles. 

89.  Ditto    (Enochoe.     Fine  red  ware;  horizontal    bands 

and  circles. 

90.  Ditto  Jug.    Fine  red  ware;  horizontal  bands,  and  cir- 

cles. 

91.  Ditto.     Double  handles;  "  vaso  a  Tromba." 

92.  Ditto.     Double  handles;  "vaso  a  Tromba." 

93.  Ditto.     With  one  handle. 

94.  Ditto.     With  one  handle. 

95.  Round  bottomed  Jug,  with  handle;  soft  red  ware; 

indented  ornaments  in  white,  consisting  of  ziz- 
zags  and  circular  bands,  made  with  a  sharp 
pointed  stick. 

96.  Ditto.     Without  handle;  large  neck;  same  style  of  orna- 

ment. 

97.  Ditto.     With  high  handle. 

98.  Like  95. 


49 


99.    Aryballos.    Same  ware  and  style  of  ornament. 

100.  Ditto.     High  handle;  vertical  and  diagonal  hands. 

101.  Ditto. 

102.  Ditto.     Without  handle. 

103      Ditto,  with  two  handles;  rudely-shaped  animals;  same 
incised  ornament. 

104.  Aryballos,  with  one  handle;  same  ware  and  orna- 

ment. 

105.  Black  Ware.     Little  pitcher;  rudely-scratched  orna- 

ment, consisting  of  circles,  vertical,  horizontal, 
and  diagonal  hues  in  bands. 

106.  Red  Ware.     Round  short  handle  on  rim. 

107.  Ditto.     Like  105  in  shape. 

108.  Ditto.     High  handle  with  knob  and  hole  for  suspend- 

ing. 

109.  Dilto.     With  wide  mouth. 

110.  Ditto.     Like  105  and  107  in  shape. 

111.  Ditto.     Round,  with  handle. 

112.  Oval-Shaped  Jar;  high  handle. 

113.  Round  Red  Bowl,  decorated  with  zigzag  lines. 

114.  Like  101. 

115.  Small  Aryballos,  with  straight  neck. 

116.  Like  101. 

117.  Small  Phenician  Pitcher;  with  bird,  neck-shaped 

nose. 

118.  Small  Black  Bowl,  incised  ornament  in  white,  cir- 

cles, and  a  zigzag  border. 

119.  Small  Red  Jug,  ornamented  with  zigzags  and  lines 

in  white. 

120.  Small  Bowl,  same  ware  and  ornament. 
12  L.    Greek  Lekythos,  plain  red  ware. 

122.  Bowl,  of  red  ware. 

123.  Ditto,  painted  brown.     Two  small  flat  handles. 

124.  Small  Grayish  Black  Bowl. 

125.  Priest  of  Venus,  with  the  dove  in  his  hand.     Cal- 

careous stone. 

126.  Ditto. 


so 


127.  Statuette  of  a  Seated  Woman  holding  a  child 

upon  her  knees.     Cybele  "  Kovporpo^s,"  Deme- 
ter  and  Atys. 

Traditional  type  under  which  the  Greeks  represented 
the  Telluric  divinities  as  mother  and  nurse. 

128.  Like  126. 

129.  Like  127. 

130.  Phenician  Player  on  the  Tambourine  of  Ter- 

ra Cotta. 

131.  Very  Small,  Rude  Figure  of  T.  C.    Like  132,  but 

with  arms  outstretched. 

132.  Ditto.     Rude,  arms  at  sides.     Body  like  a  tube.     See 

146, 137,  138,  etc.,  etc. 

133.  Telluric  Divinity.    Half  figure. 

134.  Ditto,  but  smaller. 

135.  Like  133. 

136.  Phenician  Idol,  representing  the  great  Goddess  of 

Cyprus.     Aphrodite  Astarte. 

137.  Phenician  Worshipper.    Rude.    Terra  Cotta. 

138.  Phenician  Player  on  the  Tambourine. 

139.  Toy  of  Terra  Cotta.     Grotesque  figure. 

140.  Shapeless  Stauette  of  Terra  Cotta. 

141.  Two  Figures  supposed  to  be  standing  in  a  chariot. 

Terra  cotta,  and  very  rudely  modelled. 

142.  Phenician  Toy.    Horse  with  ajar  on  his  back. 
143  "  "        Little  animal  of  Terra  Cotta. 

144.  Votive  Offering.     Bull's  head,  Apis. 

145.  A  Goddess  or  Priestess.    Small  T.  C.  figure,  Terra 

Cotta. 

146.  Statuette  of  T.  C    Same  shape  as  137  and  138. 

147.  Phenician  Toy. 

148.  "  "     A  bird  of  Terra  Cotta. 

149.  Vase.    Shaped  like  a  duck;  Terra  Cotta. 

150.  Phenician  Toy.    Figure  on  horseback. 

151.  Vase.     Shaped  like  a  bull.     (Apis.) 

152.  Nursing  Goddess.    See  No.  127. 


51 


153.  Toy  Animal.     Coarsely  painted. 

154.  Unknown  Object  in  stone. 

155.  Mask  of  a  Bearded  Man.    Colored  red  and  black. 

156.  Ditto.     Colored  red  and  black. 

157.  Ram-shaped  Vase. 

158.  Toy.     A  Terra  Cotta  shield. 

159.  Toy.     A  Terra  Cotta  bell. 

160  and  161.    Terra  Cotta  Lamps,  of  a   very  primitive 
character. 

Similar  lamps  are  made  at  the  present  time  by  the 
South  Sea  Islanders. 

162.     Toy.     A  Terra  Cotta  chariot. 

163  and  164.   Egyptian  Osiride  Figures,  of  vitrified  earth. 

165.  Priest  of  Venus.     Calcareous  stone. 

166.  Large   Head  made  of  calcareous  stone.     (Egygtian 

trye.) 

167.  Stone  Statue  and  Detached  Head,  representing 

a  priest  of  Venus  holding  the  sacred  dove  in  his 
hand.     (Roman  type.) 
168      Stone  Head  of  a  King  of  Cyprus.    (Asiatic  type.) 

169.  Warrior's  Head,  of  same  stone. 

170.  Head.     Of  same  stone.     (Asiatic  type.) 

171.  Terra  Cotta  Head.    Cybele? 

172.  Ditto. 

173.  Stone  Head. 

174.  Colossal  Head.    Greek  type. 

175.  Small  Stone  Head. 
176  and  177.     Ditto. 

178.  Half  Figure  playing  on  a  double  pipe.    Egyptian 

type. 

179.  A  priest  of  Venus  in  calcareous  stone. 

180.  Marble  Head.    Greek. 

181.  Head  of  a  Telluric  Divinity  in  calcareous  stone. 
182  and  183.    Small  Head  of  a  Warrior    "  " 
184  and  185.     Small  Roman  Heads. 

186.    Priest  of  Venus.    Calcareous  stone. 


52 


187.  Stone  Head.     Wears  a  Phrygian  cap. 

188.  Head  of  Cybele  or  Juno. 

189.  Lower  Half  of  the  Statuette  of  a  Goddess. 

In  Parian  marble. 

190.  Small  Stone  Head. 

191.  Lion's  Head.    In  marble  head.     (Greek.) 

192.  Head.     (Roman  type.) 

193.  Crowned  Stone  Head. 

194.  Small  Head.     (Egyptian  type ) 

195.  Ditto. 

196.  Stone.     Fragment  of  a  figure. 
197  and  19S.    Small  Stone  Heads. 

199.  Like  200. 

The  long  nose  is   a  characteristic  of  the   modern 
inhabitants  of  Cyprus. 

200.  Stoxe  Head  of  a  Warrior.     (Cyprian.) 

201.  Large  Stone  Head.    (Asiatic  type.) 

202.  Small  Stone  Head. 

203.  Headless  Statuette  of  a  Priest. 

204.  Seated  Figure. 

205.  Animal,  in  calcareous  stone. 

206.  Limestone  Jar. 

207  and  208.    Stone  Alabastrons. 

209.  Two  Stone  Platters  and  Cones. 

210.  Bronze  Stand  of  a  Candelabrum. 

211.  Bronze  Lamp,  with  a  gryphon-headed  handle. 

Small  heads  and  fragments  in  Terra  Cotta.     Greek. 

212.  Statuette  of  Cybele,  or  Gaea.     (Mother  earth.) 
213-224.      Crowned    Heads    of    Aphrodite,    or    the 

Syrian  Goddess. 

225.  Ditto.     Upper  half  of  figure. 

226.  Ditto.     Head. 

227.  8,  and  9,  an!  330.    The  Goddess  of  Silence,  as  indi- 

cated by  the  bandage  over  the  mouth. 

Angerona,  the  Roman  Goddess  of  Silence,  was  thus 
represented. 


53 


231.  Female  Head. 

232.  Statuette  —  upper  half —  like  212. 

233.  GAEA.     Half  of  statuette. 

234.  Female  Head. 

235.  Ditto.     Wears  the  modius. 

236.  Mask. 

237.  Horse's   Head,  very  fine.    Style  of  the  Parthenon 

marbles. 

238.  Headless  Statuette,  of  great  beauty. 

239.  Head. 

240.  Acroterion  ;  architectural  ornament  placed  on  tem- 

ple roofs. 

241.  Charming   Head,  draped  like  the  Pudicitia  of  the 

Vatican. 

242.  Small  Head. 

243.  Ditto.     Resembles  Vespasian. 

244.  Arm  and  Breast  in  relief.    Fragment. 

245.  Small  Head. 

246.  Ditto. 

247.  8,  and  9.     Small  Heads. 

250.  Fragment,  with  remains  of  color. 

251.  Female  Head. 

252-347.    Lamps  of  Terra  Cotta. 

347.  One  huudred  and  nine  objects  in  bronze,  consisting  of 
spear  heads,  a  mirror,  hatchets,  armillas,  mor- 
tuary riugs,  hinges,  and  fibulae.  Two  objects  in 
silver. 

No.  348,  A.  Weights,  cylinders  (used  by  the  Assyrians  as 
signet  rings),  a  button,  etc.,  etc. 

No.  349,  A.     Egyptian  and  Pheuician  amulets. 

349.    Fifty-one  Pieces  of  Ancient  Glass,  including,  — 

13  Lachrymatories. 

14  Glass  Cups. 

16  Bottles,  without  handles. 
5  Bottles,  with  handles. 
2  Paterae. 
1  Flat  Round  Plate. 

5* 


54 


CASES  B  AND  C:  — 

A  collection  of  Grmco-Italian  fictile  painted  vases,  found  by 
Alessandro  Castellani  in  Etruscan  and  Campanian   Tombs. 
.  Loaned  by  T.  Q.  Appleton,  Esq. 


PRE-HISTORIC. 

359, 360,  and  361.  Three  Small  Vases  of  black  and  brown- 
ish earth  from  the  pre-historic  Lacustrian  habi- 
tations of  Southern  Italy. 

ASIATIC.     FIRST  EPOCH,  700-500   B.  C. 

362.  Artballos,  of  yellow  unglazed  earth,  decorated  with 

a  fantastic  tiger-headed  bird,  surrounded  by  open 
and  closed  lotus  flowers. 

These  ornaments  have  a  great  affinity  of  style  with 
those  upon  Assyrian  monuments.  They  are  painted  in 
a  single  color  of  a  burnt  reddish  yellow.  Found  at 
Cuma. 

363.  Amphora.    Painted  with  two  zones  of  animals,  birds, 

and  open  lotus  flowers.    Found  at  Capua. 

364.  (Enociioe.    Zone  of  animals  and  open  flowers  painted 
in  black  and  reddish  brown.     Found  at  Capua. 

365.  Kalpis. 

Four  female  figures  and  two  sphinxes  are  painted 
about  the  neck.  The  body  of  the  vase  is  decorated  with 
two  kinds  of  fantastic  animals  of  an  Egyptian  character, 
and  with  many  open  flowers.    Found  at  Nola. 

366.  Urn,  with  two  handles.    Yellow  clay,  decorated  with 

black  and  red  lines.     Found  at  Canosa,  in  Apalia. 

367.  Urn,  with  two  closed  and  two  open  handles  of  fantastic 

forms,  decorated  with  red  and  brown  geometri- 
cally disposed  lines.    Found  at  Canosa. 


55 


368.  Small  Count,  of  strange  shape,  with  geometrical  dec- 

orations in  red  and  brown.     Found  at  Canosa. 

369.  Urn,  double,  with  a  single  handle.     Ionic  ornaments  in 

brown  and  red.    Found  at  Canosa. 

SECOND  EPOCH,  500-300  B.  C. 

370.  Amphora,  of  yellowish  clay,  with  figures  of  hunters 

and  liturgical  scenes  engraved  with  the  point 
(sgraffiti)  and  painted  in  a  yellow,  darker  than 
the  background.  Palmettos  and  lotus  flowers 
about  tbe  neck.     Found  at  Cervetri. 

371.  Bacchic    Amphora.    Black   and  white  figures  on  a 

red  ground.  Bacchus  and  Ariadne  between  two 
groups  of  Moenads.  At  the  back,  two  persons  in 
a  quadriga,  followed  by  an  old  man  bearing  a 
sceptre.  A  Hoplite  stands  near  the  horses. 
Found  at  Capua. 

371,  B.    Bacchic  Amphora.    Black  and  white  figures  on  a 

red  ground.  Hercules  fighting  with  the  Nemean 
Lion,  or  the  Lion  of  Cythseron,  in  Which  latter 
case  the  figure  carrying  a  sceptre  may  be  Am- 
phitryon or  Thespius.  At  the  back  are  Moenads 
and  a  priest  of  Bacchus.  Bought  from  the  Cav. 
Visconti,  in  1836. 

372.  Bacchic  Amphora.    Black  figures  adorned  with  white 

and  violet  tones.  Moenad  mounted  upon  the 
Dionysiac  Bull.  Mercury  walks  before.  The 
subject  at  the  back  is  almost  identical.  Found 
at  Capua. 


GR/ECO-ITALIAN.     THIRD    EPOCH,  300-200  B.  C. 

373.    Amphora  from  Nola.    Red  figures  on  a  black  back- 
ground. 

Two  persons,  a  man  and  a  woman,  conversing  to 
getber.    The  man  leans  on  a  stick.    Between  tbeni  the 


56 


words  KAA02  AinN,  are  inscribed  in  -white.  At  the  back 
of  the  vase  is  a  young  man  holding  two  eggs  in  his 
right  hand.    Found  at  Nola. 


374.    Kalpis.    Magnificent  vase. 


A  seated  woman  (Penelope?)  is  occupied  in  taking 
jewels  from  a  casket  which  she  holds  upon  her  knees. 
Oue  of  her  attendants,  standing  near  her,  presents  a 
shut  casket.  A  second,  robed  in  an  ample  peplum, 
stands  behind  her  mistress.    Found  at  Nola. 


375.  Amphora  Pelice.    Alcibiades  walking  in  the  streets 

of  Athens,  followed  by  a  slave  leading  a  large 
dog,  whose  tail  is  to  be  cut  off  by  his  mister's 
order.  The  youth  who  appears  to  be  making  fun 
of  the  deformed  slave,  probably  symbolizes  the 
Athenian  people.  Plutarch.  Alcibiades.  X. 
Found  at  Capua. 

376.  Amphora.    A  Satyr  carrying  Silenus  on  his  shoulders, 

followed  by  another  Satyr,  who  seizes  him  by  the 
tail.  Inscription,  xapmiaes  kaao2.  At  the  back 
a  Satyr.     Found  at  Nola. 

377.  Kylix.     Inside,  a  young  man  lying  on  a  couch  holding 

a  Kantharos  (the  cup  of  Bacchus)  in  his  left 
hand,  and  raising  a  Kylix  in  his  right.  He  is 
playing  a  game  of  Sicilian  orgiu  called  k6tto.6oS 
In  this  game  the  player  tried  to  throw  wine  from 
one  cup  to  another  without  spilling  a  drop,  while 
at  the  same  time  he  pronounced  the  name  of  his 
mistress.  Outside,  a  person  holding  a  lyre,  who 
stands  between  two  draped  figures.  Same  sub- 
ject at  the  back.  Letters  illegible.  Found  at 
Capua. 

378.  Skyphos      Two  Satyrs  and  four  Moenads  painted  in 

silhouette .;  black,  on  a  red  ground.  Imitation 
of  the  style  of  the  second  Epoch.  Found  at 
Capua. 


57 

379.  KANTHAROS.  Decorated  with  a  wreath  of  laurel.  Found 

at  Capua. 

380.  Oxybaimion.    A  woman  playing  on  a  pipe,  hetween 

two  men  crowned,  one  of  whom' seems  about  to 
dance.  At  the  hack  are  three  young  men  (Ephe- 
bi)  draped.  The  exterior  border  is  decorated 
with  a  wreath  of  laurels.  Found  at  Ruvo,  in 
Apulia. 
3S1.  CEnochoe.  Black,  with  a  very  lustrous  glaze.  Found 
at  Nola. 

382.  Small  (Enochoe.     Cannellated,  and  covered  with  a 

very  beautiful  black  glaze.     Found  at  Cuma. 

383.  Amphora  Pelice.     Imitation  of  the  style  of  the  sec- 

ond epoch.     Subject:     Pasiphae  between  two 
bulls.     Same  subject  repeated  at  back. 

FOURTH   EPOCH.     VASES  FROM  APULIA,  200-00  B.  C. 

384.  (Enochoe.     High    handle,    decorated   with    a    mask- 

woman's  head  and  flowers.     Red  on  black,  with 
white  and  yellow  tones. 

385.  Aryballos.     Black  and  cannellated.     Head  of  a  wo- 

man.    Black  and  white  ornaments.    Found  at 
Gnatia. 

386.  Amphora    Pelice.    Black.    A  winged    and    seated 

genius  is  painted  upon  it.     Found  at  Gnatia. 

387.  Kantharos,  with  knotted  handles.     Black  and  cannel- 

lated.    Decorated  with  garland  and  yellow  pal- 
mettos.    Found  at  Gnatia. 
38S.    a^NDCFiOE.    Very  elegant.    Black,  with  white  and  yel- 
low ornaments.     Found  at  Gnatia. 

DECADENCE. 
389.    Aryballos. 

Venus  seated,  caressing  a  dove.  Behind  her  stands 
a  young  man  holding  a  strigil.  A  young  woman  offers 
him  a  basket  of  fruit.  Two  Mcenads  and  a  Satyr  are 
painted  on  the  border.    Found  at  Ruvo. 


58 


390.  Kantharos.    Bacchus   seated,  holding  the  Thyrsus. 

At  the  back  a  running  Moenad.  Found  at 
Canosa. 

391.  Small  Urn,  with  a  cover.     A  winged  hermaphrodite 

genius  seated,  holding  a  casket  in  his  right  hand. 
At  the  back  is  a  running  Moenad.  Found  at 
Ruvo. 

392.  Very  Large  Patera  with  handles.    At  the  bottom 

of  the  cup  is  a  seated  woman  holding  a  cup  in 
her  left  hand.  With  her  ri^ht  she  takes  a  casket 
from  the  ground,  and  turns  to  a  companion  who 
offers  her  an  Alabastron.  A  shepherd  with  a 
torch  and  a  crook.  The  subject  is  connected 
with  the  Eleusinian  mysteries.     Found  at  Ruvo. 

392,  A.    Large  Patera,  with  handle.    At  bottom  of  cup 

in  a  medallion  is  a  woman's  head,  seen  in  pro- 
file. Her  ear-rings,  diadem,  and  necklace  are 
painted  yellowish  white.  A  wreath  of  dry  leaves 
and  berries  surmounts  the  medallion.  Orna- 
ments on  handles  are  white  or  greenish  black. 
At  back,  a  seated  hermaphrodite  genius  holding 
a  casket,  also  a  draped  woman  with  a  mirror  and 
a  wreath.  Subjects  divided  by  large  palmetto 
leaves.     Red  on  black.     Found  at  (?) 

393.  Large  Krater.    Dionysius  in  royal  l-obes,  carrying 

the  Thyrsas  aud  the  Kantharos.  He  is  preceded 
by  a  Satyr  holding  a  lighted  torch,  and  followed 
by  a  drunken  Moenad  and  a  Satyr.  At  the  back 
three  Ephebes  wrapped  in  their  peplums.  Found 
at  Ruvo. 

391.  Large  Amphora,  with  columnar  handles.  A  woman 
offers  a  basket  of  fruit  and  wine  to  two  young 
heroes  who  are  seated  (the  Dioscuri?).  The  top 
of  the  vase  is  decorated  with  garlands  of  ivy, 
and  at  the  back  are  three  Ephebes  wrapped  in 
their  mantles.     Found  at  Canosa. 

395.     Amphora.     Subject,  Bacchus  and  a  Moenad.     At  the 


59 

back  arc  two  Ephebes.     Tbe  top  is  decorated 

with  garlands  of  ivy.     Found  at  (?) 
39G.    Lamp-Shaped  Jar  of  black  ware.    On  the  top  is  a 

genius  riding  on  a  panther.     Subject  in  relief. 

Found  at  (?) 
397.     Small  Kantiieros.    Imitation   style   of  the   second 

Epoch.    Found  at  (?) 


CASES  D  AND  E. 

414.  Skypiios.     Black  with  red  Hues  around  the  upper  part 

and  ornaments  at  base. 

415.  Kantharos.     Apulian.     (Like  No.  390  in  the  Appleton 

collection  found  at  Canosa.)     On  one  side  Mer- 
cury is  represented,  on  the  other  Minerva. 

416.  Skyphos.     (Like  378  of  Appleton  collection  found  at 

Capua.) 

417.  Small  Apuliaist  Amphora.    Black  ornaments  on  a 

red  ground. 

418.  Do.     Black    figures   and   ornaments    on   a    yellowish 

ground.     A  quadriga. 

419.  Do. 

420.  Prochoos.     Apulian.     White,  yellow,  and  red  orna- 

ments on  a  black  ground. 

421.  Cup,  with  two  handles.    Decorated  with  laurel  leaves. 

Red  on  black. 

422.  A  Round   Jar,  of  brown  Terra  Cotta,  with  a  cover. 

The  ornaments  upon  it  are  rudely  scratched  with 
a  sharp  point. 


60 


423.  Kylix.    Black. 

424.  Amphora.     Asiatic.     The    Assyrian    ornaments  are 

painted  in  pale  red  on  yellow  clay. 

425.  Apulian  Amphora,  or  Vase  a  Tremba.    The  flow- 

ers and  ornaments  are  painted  in  red,  picked  out 
with  white  on  a  black  ground.  A  seated  woman 
holds  a  mirror  in  her  left  hand  into  which  a 
flying  Genius  looks. 

426.  Small  Fictile  Vase  of  Black  Ware,  with  a  gilded 

subject  in  relief,  representing  a  man  holding  a 
double-headed  axe,  and  a  tiger. 

427.  Small  Amphora.    Second  period.    Figures  black  on 

a  red  ground.     Bacchic  subject. 

428.  Small  Lekythos.     Subject,  Bacchus  in  a  chariot,  pre- 

ceded by  a  Fawn.  Figures  Black  on  a  red 
ground.     Second  style. 

429.  Small  Lekythos.    Subject,  a  Fawn  and  a  Moenad. 

430.  Small  Jar  of  elegant  form,  with  knotted  handle  and 

ribbed  body,  once  gilded. 
431  and  432.     Two  Kraters.     Apulian.     Red   figures  on  a 

black  ground.     Laurel  wreaths  under  the  rim. 
438.     Large    CExocnoE.     Red  figures  on  a  black   ground. 

Bacchus  with  Thyrsus  and  Kantharos  standing 

before  a  goddess  (Athena)  and  a  woman  dancing. 
496.    Archaic   Greek   GSnochoe.    Black.    Two  warriors 

fighting  are  painted  in  black  upon  a  yellowish 
white  background  upon  the  front,  Case  F. 

539.  Eight  Silver  Medals;  13  Roman  do.;  1  Daric  and 

two  modern  Fersiau  coins;  519  bronze  and  cop- 
per coins,  Case  F. 

540.  One  Gold  Alexander. 


GERMAN  GLASS. 

493.     A  Box  containing  four  pieces  of  finely  engraved  glass. 
German  (?)     Case  G. 


61 


467.  Prize  Goblet,  of  glass  ;  given  at  a  German  shooting 

match,  inscribed  "  Ordens  schiessen  zu  Dresden, 
dm  3,  A  ug.  1763." 

468.  Tall  Drinking  Glass,  with  ribbed  circles. 

469.  Do.,  with  coat  of  arms  in  color.    Inscription:  — 

"  Wer  nicht  trifftein  pass, 
Der  trinht  des  game  glass, 
TJnd  wer  es  dan  zerbricht,  der  sei  bericht, 
Das  er  ess  mich  einer  andern  schlicht.'1'1 

Deinen     TischTer    gesessen  zu    gehorig  in    Prnau. 
Anno.  1726." 

470.  German  Goblet.    Engraved  with  coat  of  arms.    On 

one  side  an  infant  Bacchus  sitting  upon  a  wine 
cask.     Inscription:  — 

"  JSTim  helm  und  schild  zum  unter  pfand, 
Der  wahren  treu  ans  meiner  hand, 
TJnd  sei  bei  alien  Bacchus  festen, 
Des  H.  M.  L.  S:  eingdenck  am  besten." 


MAJOLICA. 

402.  Majolica  Plate.     Subject,  a  woman  with  a  drawn 

sword,  about  to  slay  a  sleeping  man.  In  the  sky 
a  deity  in  a  chariot  drawn  by  Griffins.  No  mark. 
Attributed  to  Francisco  Xanto. 

403.  Majolica  Marriage  Plate,  with  portrait  and  in- 

scription.   Iridescent  glaze.    No  mark. 

404.  Do.     Coat  of  arms.     A  crouching  sphinx  in  the  centre, 

supporting  a  shield  with  her  paw.  Rich  border. 
Iridescent  glaze. 

405.  Do.     The  triumph  of  Bacchus. 

Attributed  to  Orazia  Fontana,  painter  to  Guidobaldo, 
duke  of  Urbino.    (1540-1560. ) 

406.  Hispano-Moorish  Ware.    Iridescent  glaze. 

6 


62 

407.  Majoltca   Bowl.     Yellow  ground,  and  lines,  with 

green  ornaments. 

408.  Majolica  Plate.    Pyramus  and  Thisbe.     Signed,  F. 

X.  AR.,  and  dated  1532.     Francisco  Xanto  Avelli 
de  Rovigo.     Made  at  Urbino. 

Two  lustre  dishes  by  this  artist  brought  £144  at  the 
recent  sale  of  works  of  art  belonging  to  Prince  Napo- 
leon, at  Paris. 

409  and  410.  Majolica  Bottles  (Gourdes),  with  richly 
ornamented  handles  and  stoppers.  Orazio  Fon- 
tana  (1540). 

A  wood-cut  of  one  of  these  bottles  is  given  in  Burty's 
"chefs  d'oeuvre  des  arts  industriels,"  p.  84.  £125  was 
paid  for  a  majolica  bowl  by  this  artist  at  Prince  Napo- 
leon's sale. 


434  and  435.    A  Pair  of  Majolica  Spezieria  (apothecary) 
jars.     Dated  1620. 

436.  Majolica  Plate,  with  arabesque  border.    In  centre 

a  stag  hunt.     No  mark.     Italian. 

437.  Majolica  Spezieria  Jar. 
466.    A  Majolica  Bowl. 

466.  Majolica  Spezieria  Jar,  with  spout  and  cover. 
Four  plates  of  Alnizzi  ware  (on  screen).  One 
plague  of  old  Delft  ware,  Case  G. 

471.  Ma jolica  Plate.     Subject:  Perseus  and  Andromeda. 

Medallions  with  'k  putti,"  in  the  border  (on 
screen). 

472.  Majolica  Bowl  (do.). 

473.  Do.  Flat  Plate.    The  salamander  repeated  in  the 

arabesque  border  was  the  favorite  emblem  of 
Francis  I  of  France  (do.). 

465,  A.    Majolica  Plate  (do.). 

410,  A.  Dish.  Bernard  Palissy;  born  1510,  died  1580.  (Im- 
itation; on  screen.) 


63 


03JECTS   IN    WOOD. 

411.    Two  Negro  Boys;  colored  and  gilded.    Venetian. 

411,  A.  Statuette  of  King  Arthur  of  England. 
Copied  from  the  statue  belonging  to  the  tomb  of 
Maximilian  at  Innspruck,  by  a  Tyrolese  wood- 
carver  (in  cabinet  with  glass  doors). 

411,  B.  An  Italian  Chest,  or  Cassone,  of  carved  oak, 
16th  century. 

Such  chests,  often  decorated  with  paintings  hy  emi- 
nent masters,  were  used  for  the  preservation  of  wear- 
ing apparel. 

547.  An  Old  Friesland  Sled.  The  colored  Bas-relief 
represents  Solomon  and  the  queen  of  Sheba. 

499.  Box-Wood  Cross.     Open-work  carving.    Byzantine. 

(Case  F.) 

500.  Persian  MiratoR  Case  (do.).    Objects  in  ivory. 

498.  Madonna  and  Ciiild.  Ivory  statuette.  Beginning 
of  XlVth  century.     School  of  Giovanni  Pisano. 

517.  An  Eraser.  XVth  century.  Italian.  In  illuminated 
MSS.;  a  scribe  is  often  represented  as  using  the 
pointed  ivory  handle  of  such  an  instrument,  to 
hold  the  page  down  firmly  with  his  left  hand, 
while  writing  or  painting.  The  metal  blade 
served  to  erase  any  blot  or  verbal  error,  if  such 
occurred. 

TAPESTRIES. 

350.  Gobelin  Tapestry  of  the  XVIIth  century,  repre- 
senting France  crowned  by  Victory,  and  at- 
tended by  Minerva.  The  female  figure  to  the 
left  represents  a  conquered  kingdom.  The  two 
to  the  left  are  prisoners.  Signed  I.  Van  Schor- 
rel.     Presented  by  Miss  Deacon. 

The  famous  manufactory  of  the  Gohelin  was  founded 
at  Paris  towards  the  end  of  the  XVth  century  hy  Jean 
Gohelin,  a  native  of  Rheims.    In  1662,  Louis  XIV  and 


64 


his  minister,  Colbert,  united  in  this  establishment  all 
the  trades  which  were  under  the  royal  protection,  such 
as  potters,  weavers,  etc.  Charles  le  Brun,  the  painter 
(born  lfil9,  died  1(590),  was  appointed  its  director  in  16G3 
He  furnished  designs  for  many  fine  pieces  of  tapestry, 
which  were  surrounded  by  rich  frame-work  of  fruits  and 
flowers  designed  by  Baptiste  Monnoyer.  Temporarily 
placed  in  the  Egyptian  room. 

548,  549,  560.  Three  Splendid  Specimens  of  Gobelin 
Tapestry,  formerly  in  the  chateau  at  Xeuilly. 
(Two  are  hung  in  the  second  room,  the  third  is 
in  the  picture  gallery  of  the  Athenaeum.) 


CASE  F. 


OBJECTS   IN   BRONZE. 


502.  Front  of  a  Bronze  Casket.  On  either  side  ot  the 
central  medallion,  which  contains  a  head,  is  a 
Centaur  hearing  a  woman  on  his  back.  Italian. 
XVth  century. 

504.  Bronze  Plaque.    Half  figure  of  a  woman.    Modern 

imitation  of  a  XlVth  centuiw  Italian  work. 

505.  Medal.      Portrait  of  Sigismuud   Pandolfo  Malatesta, 

Lord  of  Rimini.  Inscription  around  the  head, 
Sig.  Panel,  tie  Malatestis  pro  Ecclesiae  Capitaneus. 
Reverse.  A  castle.  Inscribed,  Castellum  Sis- 
monclum  Ariminense.    MCCCCXLVI. 

506.  Do.     Obverse,  with  profile  head  and  this  inscription: 

Sig.  Panel  Malatestis  pro  Ecclesiae  Capitaneus 
Genealis.  Reverse.  Female  figure  holding  a 
broken  column,  seated  upon  two  elephants. 
MCCC. 

507.  Do.     Profile   head  of  Isotta  da  Rimini.     Isotte  Arim- 

inensi  forma  et  virtute  Italiae  clecori  opus.  Mat- 
thei  cle  Pastis,  MCCCCXLVI. 


65 


508.  Do.    Profile  head  of  Lionello  d'Este.    Reverse.    Triple 

face  and  emblems.    Opus  Pisani  pictoris. 

509.  Do.    Portrait  of  the  Greek  Emperor  John  Palseologus, 

who  attended  the  council  held  hy  Pope  Eugenius 
IV,  at  Florence,  A.  D.  1439.  Reverse.  Two  men 
on  horseback.    Opus  Pisani  pictoris. 


PICTURES. 

353  and  354.  L'Aller  et  le  Rrteur  du  Makche  —  Fran- 
cois Boucher.  Born  1704,  died  1770.  Presented 
by  the  heirs  of  the  late  Peter  Parker,  Esq. 

355.  Elijah  Fed  by  the  Ravens.  —  Allston.    Born  1779, 

died  1843.  Presented  by  Mrs.  S.  Hooper  and 
Miss  Hooper. 

356.  Portrait  of  John  Harris,  Esq.    By  W.   Allston. 

Painted  when  they  were  classmates  at  Cam- 
bridge.    Presented  by  Miss  Harris. 

536.  A  Dutch  Fair  (Kermesse).    Attributed  to  Paul  Bril, 

born  in  1554,  died  1626. 

537.  The  Ferry.     By  Alexandre  Keerinckx  or  Kerrinckx, 

born  at  Utrecht  in  1590,  died  in  1646.  Presented 

by  the  children  of  the  late  I.  P.  Blanchard, 
Esq. 

538.  Cartoon.    Christ  the  hope  and  support  of   the  af- 

flicted. Paul  Delaroche.  See  Isaiah,  ch.  41, 
v.  13.  "  For  I,  the  Lord,  thy  God,  will  hold  thy 
right  hand,  saying  unto  thee,  Fear  not;  I  will 
help  thee." 

The  first  drawing  of  this  composition  was  made  at 
Eisenach,  in  1847,  and  given  by  the  artist  to  the 
Duchess  of  Orleans.  In  1851,  Delaroche  painted  a 
sketch  from  a  tracing  of  the  original  drawing  (6x8 
inches)  which  was  purchased  at  the  sale  of  his  works 
at  Paris  in  1857  for  $1,550,  and  is  now  in  the  Belmont 
Gallery  at  New  York.  At  the  time  of  his  death,  De- 
laroche had  commenced  to  put  the  composition  upon 
canvas,  figures  life  size. 
6* 


66 


STATUES. 

541.  The  First  Inspirations  of  Columbus.  By  Giulio 
di  Monteverde.  Presented  by  A.  P.  Chamber- 
lame,  Esq.  (temporarily  placed  in  the  vestibule 
of  the  Athenaeum). 

541.  Hebe  and  Ganymede.  By  Thomas  Crawford.  Pre- 
sented by  C.  C.  Perkins  (temporarily  placed  in 
the  reading  room  of  the  Athenoeum). 


CASTS. 

543.  The  Eleusis  Bas  Belief.  Ceres,  Proserpine,  and 
Triptolemus.  Presented  by  C.  C.  Perkins  (tem- 
porarily placed  in  the  first  room). 

520.  St.  George  and  The  Dragon.    From  the  Pedestal 

of  the  statue  of  St.  George  at  W.   San  Michale, 
Florence.     Douatello. 

521.  Madonna  and  Child.    Mino  da  Fiesole. 

522.  The  Annunciation,  from  the  Tabernacle  at  Or  San 

Michele.    Andrea  Orcagna. 

523.  The  Marriage  of  the  Virgin.     From  ditto.     By 

ditto. 

524.  Bas  Relief,  from  a  pulpit  at  Prato.    Donatello. 

525.  Perseus  and    Andromeda.    From  the  Pedestal  of 

the  statue  of  Perseus  at  Florence.     Benvenuto 
Cellini. 

526.  Bas  Belief.    From  the  door  of  the  Sacristy  at  Flor- 

ence.    Luca  Delia  Robbia. 

527.  Trial  Plate  made  in  competition  with  Brunelleschi. 

The  sacrifice  of  Isaac.     Lorenzo  Ghiberti. 

528.  Bas  Relief  from  the  frieze  of  a  tomb  in  the  church 

of  Santa  Trinita  at  Florence.     Giuliano  da  San- 
gallo. 


67 


529.  Bas  RELIEF,  representing  the  miraculous  restoration  of 

a  child  to  life,  from  the  Cassa  di  San  Zenobio  in 
the  Duomo  at  Florence.  (3  pieces.)  Lorenzo 
Ghiberti. 

530.  Singing  Boys.    Bas  relief  made  for  an  organ  balus- 

trade  in  the   Duomo   at   Florence.     Luca  della 
Robbia. 
534.    Terra  Cotta.    Subject,  St.  John.    XVIth  century. 

ROBBIA  WARE. 

518.  Madonna  and  Child.    Luca  della  Robbia.    Bought 

from  the  Campana  collection  at  Rome. 

519.  The  Virgin  Adoring  the  Infant  Jesus.    St.  Jo- 

seph leans  upon  a  staff  in  contemplation.     An- 
drea della  Robbia. 
357.    Adoring    Madonna.       Modern  imitation   of  Della 
Robbia  ware.      Presented   by  Rev.  Mr.  Wash- 
burne. 

ANCIENT  GLASS. 

349.     Fifty-one  specimens  found  at  Cyprus.     Case  D. 
412  and  413.    Two  small  Greek  Amphora,  of  opaque  col- 
ored glass. 

544.  Case  F  contains  several  hundred  fragments  of  antique 

colored  glass  brought  from  Rome.  (Loaned  by 
Mr.  Gaffield.) 

545.  A  volume  of  beautifully  colored  drawings  of  antique 

glass  in  the  collection  of  M.  Charvet  at  Paris. 
(Case  G.) 

VENETIAN  GLASS. 

546.  A  bowl  bought  at  Prince  Napoleon's  sale,  with  orna- 

ments gilded,  colored,  and  in  relief. 
475  to  492.     18  pieces  of  old  Venetian  glass.    Case  G. 


68 

494.    An  Old  Venetian  Drinking  Glass.    Do. 

See  other  specimens  in  large  cabinet  with  glass  doors. 

510.  Do.     Portrait    of  Carolus    Grains,    "miles   et    comes 

Bononiensis."  Opus  Sperandei.  Reverse.  Two 
Knights,  one  on  horseback,  the  other  kneeling 
before  a  crucifix. 

511.  Do.     Portrait  of  the  Turkish  Sultan  — 1481.     Reverse. 

Tbe  Sultan  on  horseback. 

512.  Do.     Johanna  Albizza,  uxor  Laurentii  de  Tornabonis. 

Reverse.     A  seated  female  figure. 

513.  Do.      Antonio's    Marescotto    of    Ferrara.    In- 

scription: "  Coepit  facere  et  postea  (Zocere."  Re- 
verse.    Christian  monogram  in  a  flaming  circle. 

314.  Do.  Portrait  of  F.  Mignanelli.  Bolognese 
Bishop.  Reverse.  A  globe  floating  in  the  water 
with  a  serpent  climbing  upon  it.  Motto:  Lach- 
rimarum  fluctus  et  amoris. 

21G.    A  Bronze  Lamp.     Early  Christian. 

ARMOR. 

411,  C.  Twenty-eight  Pieces  of  Oriental  Armor. 
The  damascene  work  (steel  inlaid  with  precious 
metals)  upon  many  of  these  exquisite  examples 
of  Eastern  skill  is  of  the  utmost  beauty.  Also  a 
Toledo  rapier  with  inlaid  hilt,  and"  an  Italian 
Crossbow  (hanging  on  the  wall). 

CABINETS. 

400.  Large  Boule  Cabinet.  Seventeenth  century.  Ital- 
ian. 

At  the  close  of  the  sixteenth  century  carved  furni- 
ture gave  place  to  furniture  decorated  with  inlays  of 
different  colored  woods  (Marquetrie,  Intarsia),  marhles 
and  other  stones;  or  metal  on  wood  or  tortoise  shell, 
called  Boule  or  Buhl  after  Boule,  who  brought  this 
sort  of  work  to  perfection  in  France  under  Louis  XIV. 


69 


401.    Ebony   Cabinet  inlaid  with  colored  marbles.    Six 

teeiith  century.     Italian.    • 
561.    Smalt,  Boule  Cabinet,  decorated  with  ornaments  in 

brass.     Italian. 

MISCELLANEOUS    OBJECTS. 

535.  Spoon,  with  mother  of  pearl  bowl,  and  bundle  of  rock 
crystal.     XVIIIth  century  (CaseG). 

503.  Small  Silver  Plaque  from  the  outside  of  a  missal. 
Saint  praying.     Repousse  work.     Case  F. 

501.  Piece  of  Stucco  Ornament  from  tbe  Albambra. 
Case  F. 

PORCELAIN,  JAPANESE  AND    CHINESE. 

351.  Two  Japanese   Porcelain    Platters.    Given  by 

A.  D.  Weld  French,  Esq. 

352.  Twro    Japanese    Bowls.      Given    by  A.    D.    Weld 

French,  Esq. 

433.  Carved  Cabinet  in  dark  wood.  Italian,  filled  with  a 
collection  of  Cbinese,  Japanese,  and  Sevres  por- 
celain, and  many  pieces  of  Venice  glass. 

439-465.  Twenty-five  Plates  of  Japanese  and  Chi- 
nese Porcelain  arranged  on  a  screen. 


CASE  G. 

MANUSCRIPTS. 

531  and  532.    Twro  Arabic    MSS.  portions   of  tbe  Koran. 

Purchased  at  Brousa  in  1829. 
495.    Choir  Book  of  the  XIV  Century.    Italian. 


70 


532, 533  and  534.    Three    Small   Illuminated   Books. 
Italian.     XVth  and  XVIth  centuries. 


DRESDEN    CHINA. 

562.    A  Group.    Presented  by  Messrs.  Sypher&  Co.  of  New 
York. 

PHOTOGRAPHS. 

Ten  Volumes  of  Photographs  of  Roman  Ruins,  Stat- 
ues, Mosaics,  Frescos,  etc.,  etc.,  presented  by 
Geo.  B.  Emerson,  Esq. 


